Dean, Tacita

Edwin Parker



Tacita Dean señala sobre esta obra: "Why we become who we become, or do as we do, or are born with a facility for something when others are not, remains, for the most part, unknown to us. We cannot often guess what incident or influence arranged our lives or ambitions in the way that it did, or whether in fact it was something deeper. And most mysterious of all is why artists become artists, and why they become the artists they are.
I have loved the work of Cy Twombly since the beginning; it touched me immediately and I have never let it go, though I have grown and changed considerably since then. No matter where I encountered it, I was never disappointed. His work has been a constant in my life, but until recently, I had no idea who he was or what he looked like, nor was I inquisitive to know. He came out of another generation, another place, another world altogether. In a way, the maker was as distant to me as Michelangelo. And then I met him.

Lexington is a small town with a proud history in the southern state of Virginia. Its centre is a lattice of two or three streets surrounded by eighteenth and nineteenth century houses, fraternity halls, and, in amongst the handsome trees and tidy grass, a university campus and military academy. It´s an old-fashioned place, small town and homely, with quirky notices stuck up in shop windows offering treats for pets with a purchase or advice on easy ways to get to Heaven. One of these humble premises Cy Twombly rents as his studio. Behind the blinds in its small storefront window he sits, thinks and works, but mostly he sits, content to watch his neighbours pull up and park, buy cakes or their newspapers next door, and then leave again.
For Cy, painting is pure behaviour and that´s why he doesn´t talk about. I asked him if he worked in spurts and he replied that he wasn´t "nine to five". He is an artist blessed with pictorial instinct and with a true ability to work beneath his conscious level, and this is rare. Much of his working time is spent getting to this point. There is no preparation, or rather his preparation is sedentary, spent reading and reflecting and being. He doesn´t hide behind a process, because in a sense, he has no process, only the interaction in the moment, whenever it should occur.

Coming back to Lexington in the autumn each year, has allowed Cy to return home: home as in local. There is comfort in this and his affection for it is clear. Lexington, with its neo-classical architecture and pride in its history was instrumental in making the artist in Cy. In the grounds of the Virginia Military Institute, he showed us a monument celebrating the site of a tree. Cy Twombly´s paintings have a universal language but in Lexington, he is a local; he is himself, or at least his American self, and that is why I gave the film its proper name".

Historia del objeto

Esta edición de la obra ha participado en las siguientes exposiciones:
"Colección Helga de Alvear. El arte del presente"; Madrid (m)(Área Metropolitana de Madrid, Comunidad de Madrid): CentroCentro Cibeles de Cultura y Ciudadanía, 24/05/2013-03/11/2013, Corral, María de [comisaria]


CORRAL LÓPEZ-DÓRIGA, María de; RODRÍGUEZ, Julián. Colección Helga de Alvear : El arte del presente = The Art of the Present. Madrid (m): CentroCentro Cibeles de Cultura y Ciudadanía, 2013. p. 140; il. color.

Mención derechos

© de las reproducciones autorizadas, el autor, 2024

Ficha técnica

Clasificación genérica:



Video instalación




Película 16 mm, color, sonido óptico


Duración = 0 h 29 m 0 s

Nº ref. / Edición:

40642 / 2/4 (Edición)

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