Anthony Caro, Mat Collishaw, Tony Cragg, Michael Craig-Martin, Richard Deacon, Barry Flanagan, Anya Gallaccio, Gilbert and George, Douglas Gordon, Antony Gormley, Siobhán Hapaska, Mona Hatoum, Damien Hirst, Anish Kapoor, Phillip King, Michael Landy, Richard Long, Sarah Lucas, Eduardo Paolozzi, Richard Wentworth, Rachel Whiteread, Richard Wilson, Bill Woodrow

This major new exhibition of British sculpture is the result of a collaboration between the Taipei Fine Arts Museum and the British Council. Comprising 61 works by 23 artists, the exhibition covers the 40 year period, 1961-2001, and provides the first opportunity for audiences in Taiwan to see something of the spirit and invention that has characterised British art during this exceptional period.

Of all the artforms in Britain, sculpture has commonly been regarded as the most surprising and innovative during the 20th Century. Beginning with the coloured sculptures of Anthony Caro (Sculpture Seven, 1961 and Month of May, 1963) and Phillip King (Rosebud, 1962 and Ripple, 1963), the exhibition opens on a radical note with works which rid sculpture of any association with objects and images from the outside world and which broke free of all that had gone before in British sculpture. The ability to adapt and incorporate new materials and technologies has been one of the motivating forces behind British sculpture, and the exhibition includes many key works in a wide range of media by successive generations of artists which have helped to re-define the language of sculpture: Barry Flanagan’s soft organic sculptures (Heap 4, 1967); early video ‘sculpture’ by Gilbert and George (Portrait of the Artists as Young Men; Gordon’s Makes us Drunk and In the Bush, all from 1972); Richard Long using photography, text and found materials to re-create his walks in the landscape (England, 1968 and Spring Circle, 1992); Tony Cragg (Canoe, 1982 and George and the Dragon, 1984), Bill Woodrow (Crow and Carrion, 1981 and Car Door, Armchair and Incident, 1981) and Sarah Lucas (Fuck Destiny, 2000), re-cycling and giving new life to everyday objects; Mona Hatoum filming the inside of her own body (Corps étranger, 1994). The exhibition concludes with a new installation by Richard Wilson (Room 921, Empress Hotel, 2001) specially commissioned for this occasion by the Taipei Fine Arts Museum.

Field Day has been selected and organised by Fang-Wei Chang, Curator, Taipei Fine Arts Museum, and Richard Riley, Exhibition Curator, Visual Arts, the British Council. A bilingual catalogue (Chinese and English) is being published by the Taipei Fine Arts Museum, with colour reproductions of all the works in the exhibition, biographies of the artists and newly commissioned texts by Fang-Wei Chang and Lewis Biggs, until recently Director of Tate Liverpool, now Director of the Liverpool Biennial.

Catalogue ISBN 957 02 8172 3