‘Like looming planets’: Tacita Dean’s Prisoner Pair (2008), from Still Life at the National Gallery. Photograph: Courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris

Three galleries, three genres – UK celebration of Tacita Dean

Film artist to address landscapes, portraiture and still life in upcoming shows at three of London’s major galleries

Mark Brown 

Arts correspondent
Tue 16 Jan 2018 14.35 GMT

The reputation of Tacita Dean as one of the most important and influential British artists working today will be cemented this year with an unprecedented collaboration between three major galleries showing her work across three genres.

Focus on portraiture … Ronald Stevenson (1983) by Victoria Crowe. Photograph: RS Anderson/Victoria Crowe

Tacita Dean and Jenny Saville lead strong female presence at Edinburgh art festival

Phyllida Barlow, Lucy Skaer and Victoria Crowe also feature in the lineup alongside old masters including Canaletto and Rembrandt

Dale Berning Sawa
Mon 26 Mar 2018 00.01 BST

The Edinburgh art festival has announced its 2018 programme. The annual event, which this year takes place between 26 July and 26 August alongside the international festival and the fringe, will mark its 15th anniversary with 36 exhibitions at venues across the city.

The Guardian view on artist Tacita Dean: epic, intimate and in touch with history

Editorial

Contemporary art is often seen as having brutally abandoned tradition. But the best work of the present is in conversation with that of the past

Sunday 18 March 2018

T

his is the artist Tacita Dean’s year: she is the focus of four major British exhibitions. Two have just opened: Portrait, at London’s National Portrait Gallery, which focuses on her films of human subjects, including choreographer Merce Cunningham, and the artists David Hockney and Cy Twombly; and Still Life at the National Gallery next door, a delicate, two-room exhibition for which she has assembled works of art from the present alongside paintings from the past. In May comes a retrospective at London’s Royal Academy of Arts. In July, an exhibition at the Fruitmarket Gallery in Edinburgh looking at performance in her work.

Tacita Dean working on The Montafon Letter, part of the Landscape exhibition at the Royal Academy. 
Photograph: © 2017 Fredrik Nilsen

Interview

Tacita Dean on the pandemic: ‘We had all this free time – and I was useless!’

During lockdown, the artist made this dirty postcard and little else. Now back on track, she talks about her upcoming shows – and feeling baffled by this new ‘we’re all in it together’ Britain

Charlotte Higgins
Thursday 27 May 2021

“O

ne is such a disappointment to oneself, workwise,” says Tacita Dean, sadly. This seems faintly mad – Dean is one of Britain’s most celebrated artists, her work dealing with the drift of time; the play of chance; the decaying of things. Three years ago, she filled three London institutions – the National Gallery, the National Portrait Gallery and the Royal Academy – with art, and topped it off with a show at the Fruitmarket, Edinburgh.

‘My single project of 2020’ … Shite Zeit, a postcard by Dean. Photograph: Courtesy the artist

My favourite work then was an allusive, elliptical film called Antigone, loosely based on the Theban plays of Sophocles, which excavated her own, Oedipus-like limping gait; the vaporous landscapes of Bodmin Moor and Yosemite; and a heartstopping total eclipse of the sun. Now she’s back with a new installation for the Hepworth Wakefield, currently marking its 10th anniversary. So why on earth is she so disappointed in herself?