(Australia 30 Jul 1950– )
Installation dimensions variable according to wall size:
a - No. 25 [painting]; 34.2 x 42.5cm; canvas
b - No. 31 [painting]; 34 x 42.5cm; canvas
c - No. 37 [painting]; 34.5 x 42.5cm; canvas
d - No. 43 [painting]; 34.5 x 42.8cm; canvas
e - No. 50 [painting]; 34 x 42.2cm; canvas
f - No. 52 [painting]; 34.5 x 42.5cm; canvas
g - No. 25 [text]; 17.7 x 19.9 x 1.3cm; frame
h - No. 31 [text]; 18.3 x 23.2 x 1.3cm; frame
i - No. 37 [text]; 18.3 x 21.9 x 1.3cm; frame
j - No. 43 [text]; 17.7 x 20.6 x 1.3cm; frame
k - No. 50 [text]; 18.1 x 23.1 x 1.3cm; frame
l - No. 52 [text]; 18.1 x 21.8 x 1.3cm; frame
The canvas panels from this series were painted after American artist Frederic Waugh's 'Paintings of the sea', which were reproduced in Walter Foster's 'How to draw' series. Imants Tillers copied one painting each week for the period of a year from the reproductions in Foster's book, including their gold frames. Six canvases from the resulting series are displayed here in a grid format.
From 1973 Tillers had begun working with images derived from artworks by other artists as he moved towards an appropriation-based art. His practice was influenced by the prevalence of artwork reproductions and their role in mediating the experience of art. Paradoxically, his work reveals how each reproduction exists as a unique version of the original artwork, with inconsistencies of colour and tone intrinsic to each reproduction.
Graham Coulter-Smith (Author), The Postmodern Art of Imants Tillers: Appropriation 'en abyme', 1971-2002, London, 2002, 74 (illus.), 147.
Charles Merewether (Australia; Scotland) (Author), Towards Infinity: works by Imants Tillers, Mexico, 1999, 22, 32 (illus.). cat.no. 2, illustration is an installation shot of all 52 canvases
Wystan Curnow (Author), Imants Tillers and the 'Book of Power', Singapore, 1998, 17, 19 (illus.).
Institute of Contemporary Arts, London (England) (Author), Imants Tillers: works 1978-1988, London, 1988, (illus), (colour illus.). no pagination or catalogue numbers; illustration is of No.47
John Kaldor (Hungary; Australia, b.1936) (Curator), An Australian Accent, Sydney, 1984, 19, 20 (illus.).
National Gallery of Victoria [Swanston Street] (Australia, estab. 1869, closed 1968) (Author), Popism, 1982. cat.no.23
Art Gallery of New South Wales (Australia, estab. 1874) (Author), Three years on: a selection of acquisitions 1978-1981, Sydney, 1981, 46 (illus.). cat.no.15
Bernice Murphy (Australia) (Author), Australian Perspecta 1981, Sydney, 1981, 134-135, 135 (illus.). cat.no.116
n-space, Sydney (Australia) (Author), 52 Displacements, Sydney, NSW, 1981, (illus.). no pagination
'Report from Australia: Part 2" by Suzo Gabik, pg.352-55, Art and Australia (Vol. 18, No. 4) Winter 1981, Winter 1981.
52 Displacements (of Image, of Time, of Water, of Feeling: One Year's Work), Watters Gallery, 1979–1979.
Australian Perspecta 1981, Art Gallery of New South Wales, 29 May 1981–21 Jun 1981.
Three years on: Acquisitions 1978-81, Art Gallery of New South Wales, 15 Oct 1981–01 Dec 1981.
Popism, National Gallery of Victoria [St Kilda Road], 16 Jun 1982–25 Jul 1982.
Imants Tillers: 1978-1988, Third Eye Centre, Glasgow, 1988–1988.
Imants Tillers: 1978-1988, The Orchard Gallery, Londonderry, 1988–1988.
Imants Tillers: 1978-1988, Institute of Contemporary Arts, London, 07 Apr 1988–22 May 1988.
Photosynthesis, Roslyn Oxley9 Gallery, 18 Nov 1994–20 Dec 1994.
Towards Infinity: works by Imants Tillers, Museo de arte Contemporáneo de Monterrey (MARCO), 24 Sep 1999–01 Jan 2000.