New Hang

Andrew Grassie
May 5 – June 19, 2005

New Hang: Tate, New Hang 6, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 8, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 2, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 5, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 9, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 1, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 4, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 7, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 12, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 13, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

The Hanging of ’New Hang’, 2005

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 10, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang: Tate, New Hang 11, 2004–05

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

New Hang, 2005

Tate Britain, London

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Jonnie Bassett

New Hang, 2005

Tate Britain, London

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Jonnie Bassett

New Hang

Andrew Grassie
Tate Britain, London
May 5 – June 19, 2005
Previous
Next
Search