4 10 75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1921 Birthplace Krefeld, Deutschland Death Date 1986 Occupation Artist Biographical Text Joseph Heinrich Beuys ( BOYSS, German: [ˈjoːzɛf ˈbɔʏs]; 12 May 1921 – 23 January 1986) was a German artist, teacher, performance artist, and art theorist whose work reflected concepts of humanism and sociology. With Heinrich Böll, Johannes Stüttgen, Caroline Tisdall, Robert McDowell, and Enrico Wolleb, Beuys created the Free International University for Creativity & Interdisciplinary Research (FIU). Through his talks and performances, he also formed The Party for Animals and The Organisation for Direct Democracy. He was a member of a Dadaist art movement Fluxus and singularly inspirational in developing of Performance Art, called Kunst Aktionen, alongside Wiener Aktionismus that Allan Kaprow and Carolee Schneemann termed Art Happenings. Today, internationally, the largest performance art group is BBeyond in Belfast, led by Alastair MacLennan who knew Beuys and like many adapts Beuys's ethos. Beuys is known for his "extended definition of art" in which the ideas of social sculpture could potentially reshape society and politics. He frequently held open public debates on a wide range of subjects, including political, environmental, social, and long-term cultural issues. Bibliography http://www.tate.org.uk/art/artists/joseph-beuys-747 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Beuys Identifier An unambiguous reference to the resource within a given context 747 Describing Femininity Joseph Beuys Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Art Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Bronze Physical Dimensions The actual physical size of the original image object: 346 x 225 x 270 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Josephine Medill Paterson Albright Creator An entity primarily responsible for making the resource Ivan Albright Source A related resource from which the described resource is derived Accession Number: T02316 Publisher An entity responsible for making the resource available Tate Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1954 Rights Information about rights held in and over the resource Presented by Mr and Mrs Michael Croydon through the American Federation of Arts 1978 Type The nature or genre of the resource Bronze Identifier An unambiguous reference to the resource within a given context 475 Describing Femininity Ivan Albright https://midterm.shearerj.sites.carleton.edu/files/original/26e605cf2ec6100e5babe5c5fd987d68.jpg 702975cd273f5ae0e95e0525ec96632e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Art Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Bronze on wooden base Physical Dimensions The actual physical size of the original image object: 508 x 495 x 330 mm, 27.4 kg Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kathleen Raine Creator An entity primarily responsible for making the resource Gertrude Hermes Source A related resource from which the described resource is derived Accession Number: T00233 Publisher An entity responsible for making the resource available Tate Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1954 Rights Information about rights held in and over the resource Presented by Miss Kay M. Murphy 1959 © The estate of Gertrude Hermes Type The nature or genre of the resource Bronze on wooden base Identifier An unambiguous reference to the resource within a given context 6130 Describing Femininity Gertrude Hermes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1916 Birthplace Leeds, United Kingdom Death Date 2002 Occupation Artist Biographical Text William Kenneth Armitage (18 July 1916 – 22 January 2002) was a British sculptor known for his semi-abstract bronzes. Bibliography http://www.tate.org.uk/art/artists/kenneth-armitage-664 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kenneth Armitage Identifier An unambiguous reference to the resource within a given context 664 Describing Femininity Kenneth Armitage https://midterm.shearerj.sites.carleton.edu/files/original/c4d5182878f50b689f23560d51e0b5a7.jpg 61d6b00ea730120e6fa7fddc65b2b70f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Art Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Bronze Physical Dimensions The actual physical size of the original image object: 1640 x 1390 x 910 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource King and Queen Creator An entity primarily responsible for making the resource Henry Moore, OM, CH Source A related resource from which the described resource is derived Accession Number: T00228 Publisher An entity responsible for making the resource available Tate Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1952–53, cast 1957 Rights Information about rights held in and over the resource Presented by the Friends of the Tate Gallery with funds provided by Associated Rediffusion Ltd 1959 © The Henry Moore Foundation; All rights reserved DACS 2014 Type The nature or genre of the resource Bronze Identifier An unambiguous reference to the resource within a given context 10224 Describing Femininity Henry Moore OM CH Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1899 Death Date 1969 Occupation Artist Bibliography http://www.tate.org.uk/art/artists/kiyohiko-komura-14424 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kiyohiko Komura Identifier An unambiguous reference to the resource within a given context 14424 Describing Femininity Kiyohiko Komura https://midterm.shearerj.sites.carleton.edu/files/original/57372f60066561c326be3e6c1a372c0a.jpg 97c0eb972edca1f0e5d26a52265b4c82 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Art Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Bronze Physical Dimensions The actual physical size of the original image object: 742 x 635 x 578 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lady Herbert Creator An entity primarily responsible for making the resource Gertrude Hermes Source A related resource from which the described resource is derived Accession Number: T05522 Publisher An entity responsible for making the resource available Tate Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource Presented by John Herbert, in accordance with the wishes of his late mother, Lady Herbert 1989 © The estate of Gertrude Hermes Type The nature or genre of the resource Bronze Identifier An unambiguous reference to the resource within a given context 2109 Describing Femininity Gertrude Hermes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1922 Birthplace Berlin, Deutschland Death Date 2011 Occupation Artist Biographical Text Lucian Michael Freud (; 8 December 1922 – 20 July 2011) was a British painter and draughtsman, specialising in figurative art, and is known as one of the foremost 20th-century English portraitists. He was born in Berlin, the son of Jewish architect Ernst L. Freud and the grandson of Sigmund Freud. Freud got his first name "Lucian" from his mother in memory of the ancient writer Lucian of Samosata. His family moved to England in 1933, when he was 10 years old, to escape the rise of Nazism. He became a British naturalized citizen in 1939. From 1942 to 1943 he attended Goldsmiths' College, London. He served at sea with the British Merchant Navy during the Second World War. His early career as a painter was influenced by surrealism, and afterwards by expressionism, but by the early 1950s his often stark and alienated paintings tended towards realism. Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally sombre and thickly impastoed, often set in unsettling interiors and urban landscapes. The works are noted for their psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended and punishing sittings from his models. Bibliography http://www.tate.org.uk/art/artists/lucian-freud-1120 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lucian Freud Identifier An unambiguous reference to the resource within a given context 1120 Describing Femininity Lucian Freud Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1887 Birthplace Blainville-Crevon, France Death Date 1968 Occupation Artist Biographical Text Born in Blainville, Normandy, Duchamp was the son of a notary and the younger brother of the painter Jacques Villon and the Cubist sculptor Raymond Duchamp-Villon. He studied at the Académie Julian in 1904-5. His early figure paintings were influenced by Matisse and Fauvism, but in 1911 he created a personal brand of Cubism combining earthy colours, mechanical and visceral forms, and a depiction of movement which owes as much to Futurism as to Cubism. His Nude Descending a Staircase, No.2, 1912 (Philadelphia Museum of Art), created a sensation at the 1913 New York Armory Show. Duchamp did very little painting after 1912, creating the first of his 'readymades' in 1913. These were ordinary objects of everyday use, sometimes slightly altered, and designated works of art by the artist. His earliest readymades included Bicycle Wheel (1913), a wheel mounted on a wooden stool, and a snow shovel entitled In Advance of the Broken Arm (1915). One of his best-known pieces is a urinal, titled Fountain and signed 'R. Mutt', which he submitted to an exhibition of the Society of Independent Artists in New York in 1917. In the ensuing controversy, the concept of the readymade became associated with an assault on the conventional understanding of the nature and status of art. Duchamp also used readymades as parts of a private symbolic language. He spoke of how using prefabricated objects freed him from the 'trap' of developing a particular style or taste. Duchamp lived mainly in New York from 1915 to 1923, in Paris from 1923 to 1942, and returned to New York in 1942. His friendship with Man Ray led to their publication of New York Dada in 1921. From 1915 to 1923 he worked on The Bride Stripped Bare by her Bachelors, Even (The Large Glass) , which he considered his most important single work. It was shown at the International Exhibition of Modern Art at the Brooklyn Museum in 1927, but was badly damaged on its return journey. Duchamp repaired and partially remade it in 1936, and the piece is now in the collection of the Philadelphia Museum of Art. In 1965-6, Duchamp and Richard Hamilton made a replica of the work (Tate Gallery T02011). Duchamp continued to be a figure of huge importance in the art world. He kept up an interest in experimental film and continued to organise exhibitions, notably the Exposition Internationale du Surréalisme in Paris in 1938. He also devoted much time to playing tournament chess. In the last twenty years of his life, he worked in secret on a three-dimensional realisation of The Bride Stripped Bare by her Bachelors, Even, entitled Etant donnés (Philadelphia Museum of Art). His first one-man exhibition was held at the Arts Club of Chicago in 1937. He died in Neuilly on the outskirts of Paris. Bibliography http://www.tate.org.uk/art/artists/marcel-duchamp-1036 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marcel Duchamp Identifier An unambiguous reference to the resource within a given context 1036 Describing Femininity Marcel Duchamp Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Art Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph, gelatin silver print on paper Physical Dimensions The actual physical size of the original image image: 223 x 342 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary holding Pablo while sitting on bench in garden Creator An entity primarily responsible for making the resource Robert Frank Source A related resource from which the described resource is derived Accession Number: P13075 Publisher An entity responsible for making the resource available Tate Gallery Date A point or period of time associated with an event in the lifecycle of the resource c. 1951 Rights Information about rights held in and over the resource Presented by Pierre Brahm 2008 Type The nature or genre of the resource Photograph, gelatin silver print on paper Identifier An unambiguous reference to the resource within a given context 100079 Describing Femininity Robert Frank