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Student Artwork Guide

Object for the Television

Name Class Date

Phyllida Barlow, Object for the Television (1994), Tate Modern. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Phyllida Barlow artsdot.com/en/artists/phyllida-barlow/
Artist’s dates
1944 – 2023
Painted
1994
Movement
Post Minimalism
Held at
Tate Modern artsdot.com/en/museums/tate-modern-london/

In context

Object for the Television — Phyllida Barlow

When was this painted?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000
  8. 2010
  9. 2020

Shaded: the lifetime of Phyllida Barlow (1944–2023) ▲ this work, 1994

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/phyllida-barlow-object-for-the-television-D5KP3W-en/

Colours

Measured from the image

    Main colour

    Putty #cccaac

    Catalogued palette

    • #CCCAAC
    • #2B1615
    • #887A5D
    • #563C2F
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    Phyllida Barlow

    Born in Newcastle upon Tyne, United Kingdom

    Phyllida Barlow: A Colossal Presence in Sculpture

    Phyllida Barlow (1944-2023), a British visual artist, carved an extraordinary path through the world of sculpture and installation art, leaving behind a legacy of monumental, playful, and profoundly engaging works. Born in Newcastle upon Tyne and raised amidst the post-war landscape of London, her artistic journey was shaped by both personal experiences – including childhood memories of bomb damage – and a deep engagement with the evolving practices of contemporary art. Barlow’s career spanned over six decades, marked by a consistent exploration of materiality, scale, and the relationship between the artwork and its environment. She wasn't simply creating objects; she was constructing immersive experiences that challenged viewers to reconsider their perceptions of space, form, and meaning.

    Early Life and Artistic Training

    Phyllida Barlow’s artistic development began at Chelsea College of Art in 1960, where she studied under George Fullard, a pivotal figure who instilled in her a belief that the act of making itself was an adventure. This early influence encouraged a playful approach to sculpture, rejecting traditional notions and embracing experimentation with unconventional materials. She continued her studies at the Slade School of Fine Art from 1963 to 1966, further honing her skills and developing her distinctive style. Her marriage to Fabian Benedict Peake, the son of renowned author Mervyn Peake, provided a supportive creative partnership, and their family life nurtured a vibrant artistic environment. Barlow’s time at the Slade was not just about technical proficiency; it was a period of intellectual growth, shaping her understanding of art's potential to disrupt and provoke. She later became a respected teacher at the Slade for over forty years, mentoring generations of artists including Rachel Whiteread and Ángela de la Cruz, leaving an indelible mark on the British art scene.

    A Distinctive Material Language

    What truly set Barlow’s work apart was her masterful manipulation of materials. Rather than relying on precious metals or polished stone, she embraced a vocabulary of inexpensive, readily available elements – cardboard, plywood, plaster, cement, fabric, and paint. These humble materials were transformed through layers of accumulation, removal, and juxtaposition, creating forms that seemed to defy gravity and logic. Her sculptures often appeared simultaneously heavy and light, imposing yet strangely delicate. This deliberate choice of materials wasn’t simply a stylistic decision; it was a conscious rejection of monumentality and an embrace of the inherent qualities of each substance. Barlow herself described her process as “more functional than artistic,” highlighting her focus on the physical act of creation and the exploration of material potential.

    Major Achievements and Recognition

    Phyllida Barlow’s influence extended far beyond the British art world. In 2017, she represented Great Britain at the Venice Biennale, a prestigious international exhibition that brought her work to a global audience. Her monumental installation for the event, “The Place Where We Met,” was particularly notable for its scale and its ability to transform the viewer’s experience of the gallery space. Throughout her career, Barlow received numerous awards and accolades, including the Aachen Art Prize in 2012 and recognition as a Royal Academician in 2011. Her work has been exhibited extensively in major museums and galleries around the world, solidifying her position as one of the most important sculptors of her generation. Her later years were marked by continued creative output and a commitment to pushing the boundaries of sculptural practice.

    Legacy and Influence

    Phyllida Barlow’s legacy is complex and multifaceted. She challenged conventional notions of sculpture, moving away from traditional representations and embracing abstraction, process, and the inherent qualities of her chosen materials. Her work invites viewers to engage with it on a physical and emotional level, prompting reflection on themes of space, materiality, and the nature of art itself. Her anti-monumental approach—leaving seams visible, revealing the construction process—demanded that viewers consider not just the finished object but also the act of making. Barlow’s influence can be seen in the work of countless artists who followed in her footsteps, demonstrating the enduring power of her vision and her profound contribution to contemporary art. Her passing in 2023 marked the loss of a truly unique artistic voice, but her monumental sculptures will continue to inspire and challenge audiences for generations to come.

    Museum

    Tate Modern

    On show in London, United Kingdom

    Tate Modern: A Chronicle of Urban Innovation

    Nestled within the skeletal remains of a colossal Bankside power station, Tate Modern stands as more than just a gallery; it’s a testament to London's relentless reinvention and a vibrant hub for contemporary art. Completed in 2000 after a painstaking fifteen-year transformation, the building itself is an immediate draw – a dramatic juxtaposition of brutalist concrete and shimmering glass that dominates the Southwark skyline. Designed by Herzog & de Meuron, it’s a structure that doesn't simply house art; it becomes part of the artwork, reflecting the city’s dynamic energy and its ongoing dialogue with the past. The power station’s original industrial heart – the Turbine Hall, now a cavernous space capable of hosting monumental installations – remains a powerful reminder of London’s manufacturing heritage, while the surrounding exhibits celebrate the evolution of artistic expression in the 20th and 21st centuries.

    Key Architectural Features:

    The iconic sawtooth roof, a deliberate nod to the power station's original design, is perhaps Tate Modern’s most recognizable element. Its vast expanse provides ample space for large-scale exhibitions and offers breathtaking views of the city.

    The Turbine Hall:

    This immense space serves as a dynamic stage for immersive installations, often pushing the boundaries of artistic convention and challenging viewers' perceptions.

    The Boiler House:

    Originally housing the power station’s boilers, this area now hosts more intimate exhibitions and offers a fascinating glimpse into the building’s transformation.

    A Collection Rooted in Modernism

    Tate Modern’s collection is deliberately focused on international modern and contemporary art created from 1900 onwards, offering a panoramic view of artistic movements and styles that have shaped our world. It's not simply a chronological survey; instead, the gallery prioritizes works that embody innovation, experimentation, and social commentary. You’ll find iconic pieces by Picasso, Matisse, Warhol, Rothko, and countless others – artists whose work continues to resonate with audiences today. The collection isn’t limited to painting and sculpture; it encompasses photography, film, performance art, and digital media, reflecting the evolving nature of artistic practice.

    Picasso's "Les Demoiselles d'Avignon":

    A pivotal work in the development of Cubism, this painting exemplifies Picasso’s radical experimentation with form and perspective.

    Warhol’s “Campbell’s Soup Cans”:

    This seminal Pop Art piece challenged traditional notions of art and elevated everyday objects to the status of high culture.

    Rothko's Color Field Paintings:

    These large-scale canvases evoke a sense of contemplation and spirituality through their immersive use of color.

    Exhibitions That Spark Dialogue

    Tate Modern’s strength lies not just in its permanent collection but also in its consistently thought-provoking temporary exhibitions. The gallery regularly hosts major retrospectives, thematic group shows, and site-specific installations that engage with current social and political issues. These exhibitions often invite dialogue and debate, prompting visitors to consider their own perspectives on the world around them. Recent highlights have included explorations of identity, climate change, and the role of art in society. The gallery’s commitment to showcasing diverse voices and perspectives ensures that there's always something new and exciting to discover.

    Notable Past Exhibitions:**

    Marina Abramović: Artist as Activist

    Ai Weiwei: Made in China

    Jeff Koons: Balloon Dog

    A Space for the Future of Art

    Tate Modern isn’t merely a repository of art; it's an active participant in shaping its future. The gallery invests heavily in research, education, and community engagement, fostering a vibrant ecosystem of artistic creativity. Its ongoing expansion projects – including the planned completion of the Southern Extension – demonstrate a commitment to providing ever-evolving spaces for artists and audiences alike. More than just a museum, Tate Modern is a dynamic cultural landmark that embodies London’s spirit of innovation, resilience, and its unwavering belief in the power of art to transform our understanding of ourselves and the world.

    Where to read more

    • The artist Phyllida Barlow artsdot.com/en/artists/phyllida-barlow/
    • The museum Tate Modern artsdot.com/en/museums/tate-modern-london/
    • Similar works More works to compare artsdot.com/en/art/similar/phyllida-barlow-object-for-the-television-D5KP3W-en/

    Find this online

    QR code linking to the download page for Object for the Television

    artsdot.com/en/art/download/phyllida-barlow-object-for-the-television-D5KP3W-en/

    Cite this artwork

    MLA
    Barlow, Phyllida. Object for the Television. 1994, Tate Modern. https://artsdot.com/en/art/phyllida-barlow-object-for-the-television-D5KP3W-en/
    APA
    Barlow, Phyllida (1994). Object for the Television [Painting]. Tate Modern. https://artsdot.com/en/art/phyllida-barlow-object-for-the-television-D5KP3W-en/
    Chicago
    Phyllida Barlow. Object for the Television. 1994. Tate Modern. https://artsdot.com/en/art/phyllida-barlow-object-for-the-television-D5KP3W-en/
    Harvard
    Barlow, Phyllida (1994) Object for the Television. Tate Modern. Available at: https://artsdot.com/en/art/phyllida-barlow-object-for-the-television-D5KP3W-en/

    Look closely

    Object for the Television — Phyllida Barlow

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Screestage, Installation view, earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Phyllida Barlow was about 50 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.