Keith Arnatt (1930-2008) is best known for his conceptual photographic work from the late 1960s and early 70s and his subsequent documentary photography of people and objects in the landscape, but this exhibition shows that his artistic roots are also firmly grounded in sculpture. Through his preoccupations with the box, body and burial in the early part of his career, Arnatt challenged sculptural convention long before he was seen as a photographer.

One of Arnatt’s best known works – Trouser-Word Piece from 1972 – shows the artist wearing a placard bearing the provocative statement ‘I’m a Real Artist’. Another key work from his early career entitled Self Burial sees Arnatt gradually sinking into the ground in a series of sequential photographs. These works, presented in the exhibition along with a number of fascinating, lesser-known drawings and photographic documentation, highlight the sculptural dimension of Arnatt’s thinking during the early part of his career. From his fabrication of minimalist boxes to his creation of cubic holes in the ground, from his hiding and revealing of the body in space to his manipulation of natural and man-made materials in the rural environment, all these works reveal a sculptural imagination which clearly informed Arnatt’s photographic, conceptual practice in the mid-1960s and beyond.

Arnatt’s recent 2007 retrospective at the Photographer’s Gallery, entitled I’m a Real Photographer: Keith Arnatt Photographs 1974-2002 focused on his photography and his post-1974 work. In many ways it is not surprising that this should be the case, since Arnatt himself has always been an articulate advocate of photography and fought to have it regarded on the same level as other arts, such as painting and sculpture. As an artist, Arnatt has always to some extent defied categorisation and this exhibition blurs the boundaries even further by suggesting that Arnatt is not only ‘a real artist’ and ‘a real photographer’, but also ‘a real sculptor’.

It is with great sadness that we report that Keith Arnatt died on 19th December 2008.

http://www.henry-moore-fdn.co.uk

Collection Artist(s)

Glossary

  • Documentary

    The term ‘Documentary’ was not coined until the 1920s, and then used by the British film-maker, John Grierson, to refer to moving pictures. It has a long and continuous history in British photography, reaching back to the invention of the medium. Many critics claimed that the documentary impulse, which can perhaps be best defined as the systematic recording of visual reality for the purpose of providing information and encouraging understanding of the world, is inherent in the medium itself. It was this view which came to be known as the realist paradigm - the belief that a photograph represents a ‘slice of reality’ easily understood by the viewer. This belief governed understanding of photography from the moment of its invention in the era of positivism in the 19th Century, until it was itself subject to interrogation in the 1980s.

    Early British practitioners included John Thomson whose visual essay Street Life in London (1876) documented the life of the London poor, and Hill and Adamson who portrayed, in the mid 1840s, the customs and way of life of the fisher folk of Newhaven near Edinburgh. In the early 20th century, following the emergence of documentary film-making and Mass Observation (a study undertaken in the North of England by the anthropologist Tom Harrisson), this new aesthetic found its most persuasive outlet in the mass circulation weekly magazines, such as Picture Post and Life. In time, however, pressure from advertisers combined with the restrictions of group journalism and curtailed the independence of creative photographers, with only exceptional individuals such as Bill Brandt able to survive as both a photojournalist and an independent photographer. His images of Britain’s class-ridden society along with his more experimental nudes, portraits and landscapes had a profound influence on a younger generation and established Brant as a major creative force in the development of modernism in Britain.

    Mass Observation was designed to emulate the radical achievements of the worker-photography movement which had arisen in Germany during the 1920s. It proved influential on the evolution of British documentary, especially on those photographers associated with the Side Gallery in Newcastle. The gallery fostered a regional, community-oriented form of documentary practice. Its philosophy was rooted firmly in the notion that an authentic document can only be generated by those familiar with the local community. Photographers associated with Side Gallery included Sirkka Konttinen, Isabella Jedrecyck, Graham Smith, Peter Fryer, Chris Killip and Julian Germain.

    It was, however, across the Atlantic that the more enduring legacy concerning the ethics and status of documentary was to be found in the work of the photographers employed by the Farm Security Administration to document the plight of the American rural poor during the Depression. One of its outstanding photographers was Walker Evans whose use of signs and symbols (such as billboards and advertising hoardings) as images of desire created a text or narrative to accompany the careful sequencing of images. The direct inheritors of the photograph as social sign were the American photographers of the ‘social landscape’, namely Lee Friedlander, Garry Winogrand and Diane Arbus whose unsympathetic vision of the American landscape reflected the anxieties of urban life during the booming consumer decade - store fronts, billboards, graffiti and advertising. They chose to portray people, situations and artefacts in a casual and objective way that allowed the viewer to interpret the work freely; a strategy that became known as the ‘snapshot aesthetic’. One of those who experienced many of these developments first hand was the British photographer Tony Ray-Jones. His work was widely reproduced in the 1960s and his book A Day Off (1974) proved a particular inspiration for the generation of documentary photographers who developed in the late 1970s and early 1980s.

    Relevant websites:
    The work of early documentary photographs can be found in the collections of the Royal Photographic Society www.rps.org)
    The Mass Observation archive is held by the University of Sussex www.sussex.ac.uk/library/massobs/
    The work of the Side Gallery can be seen at     www.amber-online.com/gallery/
    The archive for the Farm Security Administration is now in the Print and Reading Room Collections of the Library of Congress in Washington www.loc.gov/rr/print

  • Landscape

    Landscape is one of the principle genres of Western art. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner; the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection (www.tate.org.uk). There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists . Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. However, landscape persisted in some form into high abstraction, and has been a recurrent a theme in most of the significant tendencies of the 20th Century. Now manifest in many media, landscape no longer addresses solely the depiction of topography, but encompasses issues of social, environmental and political concern.

  • Painting

    Work of art made with paint on a surface. Often the surface, also called a support, is a tightly stretched piece of canvas, paper or a wooden panel. Painting involves a wide range of techniques and materials, along with the artist's intellectual concerns effecting the content of a work.

  • Sculpture

    A three-dimensional work of art. Such works may be carved, modelled, constructed, or cast. Sculptures can also be described as assemblage, in the round, relief, and made in a huge variety of media. Contemporary practice also includes live elements, as in Gilbert & George 'Living Sculpture' as well as broadcast work, radio or sound sculpture.