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Collection

An image of 52 displacements (nos 25, 31, 37, 43, 50, 52) by Imants Tillers

Imants Tillers

(Australia 30 Jul 1950 – )

Title
52 displacements (nos 25, 31, 37, 43, 50, 52)
Year
1979-1980
Media categories
Painting, Installation
Materials used
gouache on canvas (six paintings), text (six framed panels)
Dimensions

Installation dimensions variable according to wall size:

a - No. 25 [painting]; 34.2 x 42.5 cm; canvas

b - No. 31 [painting]; 34 x 42.5 cm; canvas

c - No. 37 [painting]; 34.5 x 42.5 cm; canvas

d - No. 43 [painting]; 34.5 x 42.8 cm; canvas

e - No. 50 [painting]; 34 x 42.2 cm; canvas

f - No. 52 [painting]; 34.5 x 42.5 cm; canvas

g - No. 25 [text]; 17.7 x 19.9 x 1.3 cm; frame

h - No. 31 [text]; 18.3 x 23.2 x 1.3 cm; frame

i - No. 37 [text]; 18.3 x 21.9 x 1.3 cm; frame

j - No. 43 [text]; 17.7 x 20.6 x 1.3 cm; frame

k - No. 50 [text]; 18.1 x 23.1 x 1.3 cm; frame

l - No. 52 [text]; 18.1 x 21.8 x 1.3 cm; frame

Signature & date
Not signed. Not dated.
Credit
Purchased 1980
Accession number
16.1980.a-l
Copyright
© Imants Tillers
Location
Not on display
Further information

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.

Bibliography (10)

Graham Coulter-Smith, The Postmodern Art of Imants Tillers: Appropriation 'en abyme', 1971-2002, London, 2002, 74 (illus.), 147.

Wystan Curnow, Imants Tillers and the 'Book of Power', "Part 1: Imants Tillers', Singapore, 1998, 17, 19 (illus.).

Suzo Gabik, Art and Australia (Vol. 18, No. 4), 'Report from Australia: Part 2", pg.352-55, Sydney, Winter 1981.

John Kaldor AM (Curator), An Australian Accent, Sydney, 1984, 19, 20 (illus.).

Charles Merewether, Towards Infinity: works by Imants Tillers, 'Displacement, Diaspora, Dissemination', pg.21-27, Mexico, 1999, 22, 32 (illus.). cat.no. 2, illustration is an installation shot of all 52 canvases

Bernice Murphy, Three years on: a selection of acquisitions 1978-1981, 'Contemporary Art - Australian, European and American', pg. 37-46, Sydney, 1981, 46 (illus.). cat.no.15

Bernice Murphy, Australian Perspecta 1981, Sydney, 1981, 134-135, 135 (illus.). cat.no.116

National Gallery of Victoria [Swanston Street], Popism, 1982. cat.no.23

Michael Newman, Imants Tillers: works 1978-1988, 'Imants Tillers: the artist as translator', London, 1988, (illus), (colour illus.). no pagination or catalogue numbers; illustration is of No.47

n-space, Sydney, 52 Displacements, Sydney, NSW, 1981, (illus.). no pagination

Exhibition history (7)

52 Displacements (of Image, of Time, of Water, of Feeling: One Year's Work), Watters Gallery, East Sydney, 1979–1979

Australian Perspecta 1981, Art Gallery of New South Wales, Sydney, 29 May 1981–21 Jun 1981

Three years on: acquisitions 1978-81, Art Gallery of New South Wales, Sydney, 15 Oct 1981–01 Dec 1981

Popism, National Gallery of Victoria [St Kilda Road], Melbourne, 16 Jun 1982–25 Jul 1982

Imants Tillers: 1978-1988:

Photosynthesis, Roslyn Oxley9 Gallery, Paddington, 18 Nov 1994–20 Dec 1994

Towards Infinity: works by Imants Tillers, Museo de arte Contemporáneo de Monterrey (MARCO), Mexico, 24 Sep 1999–01 Jan 2000