1. ‘FREEDOM’ ‘FREEDOM’ ‘FREEDOM’ AS EXTERNALLY SET ASSIGNMENT JAN 2007

2. Themes Painting-radical experimentation into abstract expressive work. Installations – use of innovative and unusual materials. 2D into 3D – breaking free from the traditional rectangular frame and through the ‘picture plane’. Painting with light – a return to painting?

3. Fiona Rae born 1963 British painter. She completed a foundation course at Croydon College of Art (1983–4), and a BFA at Goldsmiths' College, London (1984–7). Her reputation was quickly established; a year after her inclusion in the exhibition Freeze ( curated by fellow artist Damien Hirst in 1988), she showed at the Waddington Galleries in London. She was short listed for the Turner Prize in 1991.Goldsmiths Rae makes highly coloured, vivid abstract paintings that draw on and develop a variety of formal, painterly motifs. Common to all her work is the self-conscious juxtaposition of flat areas of colour with dragged, daubed or scumbled paint marks. Although her compositions can appear accidental, almost arbitrary, close inspection reveals a highly controlled handling of paint and style and a tight underlying structure.abstract paintingspainterly As her work developed throughout the 1990s it became still more structured, and focused in a more condensed manner on certain motifs. Her approach to painting is based on a playful engagement with her predecessors, using both quotation and a repertoire of surface effects to suggest both the superficiality and self-absorption of the act of painting. ‘Purple Haze’ ‘Male Nurse’ ‘Hong Kong Garden’ ‘Night Vision’

4. Left: ‘You Will Be Relieved When you Can See Your Favourites’2004 Right: ‘Smile is best makeup’ 2004

5. ‘CURL’ 1997-8 Fiona Rae Description "Curl" presents a maelstrom of optical effects, like the visual equivalent of sampled music or a series of rapidly edited film clips. The apparently chaotic black and white sweeps of paint which cover the surface of the canvas are peppered with brightly coloured discs, which have been compared to vinyl records, liquorice sweets, and planets. Rae often resists any attempt to interpret her works as depictions of recognisable subjects, and "Curl" is no exception. She studied at Goldsmiths College in London and is one of a number of artists whose work made a great impact on British contemporary art in the 1990s.

6. Frank Stella From ‘Black’Series II (title unknown) 1967 Lithograph on paper. Hyena Stomp 1962 Oil on canvas support: 1956 x 1956 mm frame: 1982 x 1981 x 91 mm painting The title Hyena Stomp comes from a track by the American jazz musician Jelly Roll Morton. Stella was thinking about syncopation while working on the painting.painting

7. Frank Stella –, American artist, b. Malden, Mass. In his early “black paintings” Stella exhibits the precision and rationality that characterized minimalism, employing parallel angular stripes to emphasize the rectangular shape of his large canvases. His innovative and influential use of irregularly shaped canvases first appeared in his metallic series in 1960. Later examples of his work stress colour in decorative curved motifs. In the 1970s and 80s, Stella abandoned the studied, minimalist aesthetic in favour of a more improvised, dynamic, and dramatic idiom in mixed-media. During that time he abandoned flat paintings and instead created large, jutting, multipart, three-dimensional painting-constructions that often incorporate bright colours, enlarged versions of French curves, and lively brushstroke patterns.minimalism, Stella's work became fully three-dimensional in the early 1990s in a series of dense abstract sculptures composed of found and cast elements in stainless steel and bronze. These unpainted and often large-scale metal wall constructions, with their tangled, layered, and looping shapes, project an air of vibrant spontaneity. One of his most important and monumental sculptures is Prince of Homburg (1995–2001), installed outside the National Gallery of Art's East Building, Washington, D.C. Throughout his career, Stella also has been a prolific printmaker. The Whitney Museum, New York City, has several of his paintings, and his works are included in numerous museum and corporate collections worldwide. Frank Stella, Decanter, 1987, steel and bronze. Collage Component, undated cut out blueprint paper; 52 × 48.5 inches ‘Construction’ 1984

8. Schwarze Weisheit #1 2000 Aquatint and lithograph on paper image: 845 x 621 mm on paper, print from Imaginary Places III Roncador 1998 Lithograph, screenprint, etching and relief on paper image: 542 x 554 mm paper, print Schwarze Weisheit #2 2000 Aquatint and lithograph on paper image: 811 x 629 mm on paper, print

9. Mona Hatoum Born 1952, Beirut, Lebanon. The artist lives and works in London. Mona Hatoum Mona Hatoum's art invites us to experience anew the cultural intersections that link our identities with the physical and perceptual world surrounding us. Like many artists working today, Hatoum employs a wide variety of media and techniques, but her unique style is characterized by forms and materials that evoke feelings of intimacy and familiarity, while simultaneously suggesting the possibility (whether real or imagined) of physical danger.ona Hatoum Traffic 2002 Suitcases, metal, plastic, human hair The Grater Divide. (date unknown)

10. Installations The Mexican Cage, Mona Hatoum, 2002. The friendly colours of the cage work in contrast with the unfriendly nature of the cage. Hatoum’s The Mexican Cage (2002) represents a colourful birdcage. The work suggests a metaphoric connection between a caged canary and the life of a Mexican factory worker. How does The Mexican Cage suggest tension? Do you think that the “friendly colours” of the work contrast with the object that is an “unfriendly” cage?

11. Light at the End, Mona Hatoum, 2002. Hatoum demonstrates that colour can have multiple and shifting meanings. Light at the End, Mona Hatoum, 2002. Hatoum demonstrates that colour can have multiple and shifting meanings. A single colour can have multiple and shifting meanings. Mona Hatoum (1952) is a London- based artist of Palestinian origins. Hatoum uses colour to emphasize the intensity of her experiences and to suggest wider political meanings beyond her personal experiences. The installation Light at the End (2002) consists of an iron metal frame and five electric elements. It represents a dark tunnel with red, orange and yellow light at the end. This coloured light seduces the spectator, as it appears warm and appealing, in contrast to the hostile darkness of the tunnel. However, the seductive colour is a trap. Only when the spectator moves closer does the coloured light reveal its real character as electric and dangerous. The warmness of red is transformed into the violent redness of blood. The installation is a reflection of both Hatoum’s personal experience and a more universal experience of living in exile. Hatoum’s Palestinian parents had been forced to live in exile by the Arab-Israeli conflict. In 1975, war broke out in Lebanon and Hatoum, on a visit to London, found herself exiled in the United Kingdom, unable to return to her home country. In Light at the End, the multiple meanings of red, orange and yellow light that contrast with the darkness of the tunnel refer to the appeal of the home country and Hatoum’s experience of living in exile, addressing the violent character and the instability of separation.