We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

Title

Attendants (after Schongauer)

2012

Artist

Caroline Rothwell

England, Australia

1967 -

Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
Alternate image of Attendants (after Schongauer) by Caroline Rothwell
  • Details

    Place where the work was made
    Sydney New South Wales Australia
    Date
    2012
    Media categories
    Sculpture , Installation
    Materials used
    Britannia metal, hardware and plywood
    Dimensions
    dimensions variable :

    a - Attendant (Max), 87.5 x 40 x 4.5 cm

    b - Attendant (Molly), 77 x 39 x 3.5 cm

    c - Attendant (Jake), 72 x 54 x 5.5 cm

    d - Attendant (Sam), 55 x 70 x 4.5 cm

    e - tree 1, 60 x 22 x 13 cm

    f - tree 2, 53 x 14 x 14 cm

    g - tree 3, 68.5 x 18 x 14 cm

    h - box 1, 40 x 40 x 40 cm

    i - box 2, 40 x 20 x 20 cm

    j - box 3, 40 x 40 x 40 cm

    k - box 4, 80 x 20 x 20 cm

    l - box 5, 40 x 20 x 20 cm

    m - box 6, 80 x 20 x 20 cm

    n - box 7, 40 x 40 x 40 cm

    o - box 8, 40 x 40 x 40 cm

    p - box 9, 20 x 20 x 40 cm

    q - box 10, 20 x 20 x 80 cm

    Signature & date

    Not signed. Not dated.

    Credit
    Contemporary Collection Benefactors 2013 with the assistance of Peter Braithwaite, Andrew & Cathy Cameron, Michael Hobbs, Judy Soper, Alenka Tindale
    Location
    Not on display
    Accession number
    202.2013.a-q
    Copyright
    © Caroline Rothwell

    Reproduction requests

    Artist information
    Caroline Rothwell

    Works in the collection

    1

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  • About

    Caroline Rothwell's practice engages with the politics of place, migration, conflict and mortality through the lens of the environment. Her work often draws on the anatomy of endangered or extinct species, though she is equally known for creating mutant and hybrid forms that explore the impacts of biotechnology and environmental contamination. What may at first appear playful or innocent in Rothwell's work - shiny surfaces, toy-like contours, the allure of a flower or animal - are typically decoys for more ominous or unsettling subjects.

    'Attendants (after Schongauer)' takes its cue from an early but influential engraving by German artist Martin Schongauer 'The Temptation of Saint Anthony' c1470s. This work depicts Saint Anthony in a state of calm while a group of devils claw and club his body, attempting to sabotage his pursuit of religious ascetism. Schongauer imagined these vicious creatures as fanciful hybrids with body parts amalgamated from different classes of animal - wings, horns, beaks, claws, scales and so on.

    Rothwell's 'attendants' follow in the image of Schongauer's devils, mingling the grotesque and fantastic. However, her gathering of creatures is without an object of malice; perched on plinths (or suspended from above) among a grove of trees, they radiate a sinister but undirected energy. Hence they read as symbols - or perhaps symptoms - of a more general humanistic angst, perpetuated by the status quo of an increasingly unstable world: politically, environmentally, and economically.

  • Places

    Where the work was made

    Sydney

  • Exhibition history

    Shown in 2 exhibitions

  • Bibliography

    Referenced in 3 publications