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

🛈 In line with NSW Health advice, the Art Gallery is temporarily closed to the public. Stay updated on our social media.

Title

52 displacements (no. 2)

1979-1980

Artist

Imants Tillers

Australia

30 Jul 1950 –

Alternate image of 52 displacements (no. 2) by Imants Tillers
Alternate image of 52 displacements (no. 2) by Imants Tillers
  • Details

    Date
    1979-1980
    Media categories
    Painting , Installation
    Materials used
    gouache on canvas, framed text panel
    Dimensions
    canvas: 34.2 x 42.5 cm; text: 18.8 x 22.0 cm frame
    Signature & date

    Not signed. Not dated.

    Credit
    Gift of Michael Hobbs 2009
    Location
    Not on display
    Accession number
    214.2009.a-b
    Copyright
    © Imants Tillers

    Reproduction requests

    Artist information
    Imants Tillers

    Works in the collection

    18

    Share
  • About

    The canvas panels from this series were painted by Imants Tillers after illustrations in ‘Frederic Waugh’s Paintings of the sea’, (Walter Foster ‘How to draw’ Art Books series, no.153, Tustin, California, n.d.) Waugh (1861-1940) was an American artist who studied under Thomas Eakins and who painted numerous seascapes. Tillers copied one painting each week for the period of a year from the reproductions in this book.

    Foster’s accompanying text could have been written for a proto-postmodernist: “This nonsense of ‘Never copy’ is advice given freely by persons that have never painted, or by ‘well-meaning’ friends or relatives. When working from an artist’s painting be honest about it. Give the artist credit for his original, sign your name and ‘copy of the artist’. If you have painted a good picture it will sell, or make a nice gift for a friend to enjoy. ‘We all learn from others!’”

    Tillers’ use of a system – one painting each week for a year – recalls the systems-based art of some conceptual artists. The gridded display of this work refers to the gridding used by conceptual artists in displaying photo-documentation work and the gridding of some minimal artists such as Carl Andre. The exhortation of the paragraph above becomes ironic in Tillers’ hands as he carefully reproduces not only the painting but its gold frame as illustrated in the book.

    Tillers had been working with images derived from paintings and artworks by other artists from 1973 as he moved towards an appropriation-based art. The prevalence of reproductions and their role in how many of us experience art, but also how each exists as a unique version of the artwork with all the inconsistencies of colour and tone from reproduction to reproduction, influenced Tillers’ developing practice as he worked towards the great multi-panel appropriation paintings he was to produce from the early 1980s. The gridding in the display of ‘52 displacements’ was to have a lasting impact on his work as was the sense of displacements in viewing both this work and any artwork that the full title suggests ‘52 displacements: of image/of time/of water/of feeling/one year’s work’.

  • Exhibition history

    Shown in 2 exhibitions

  • Bibliography

    Referenced in 10 publications

Other works by Imants Tillers

See all 18 works