Peter Tyndall
detail: A Person Looks At A Work of Art/someone looks at something... CULTURAL CONSUMPTION PRODUCTION

1988

EB57

5 screenprints/linocuts
100 x 70 cm each

Edition of 40 + 12 AP, signed and numbered

available with the portfolio "Aus Australien"

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part of portfolio AUS AUSTRALIEN more editions by Peter Tyndall
Screenprint/linocut by Peter Tyndall. Yellow grid of squares connected by two parallel lines, above which is a linocut in black reminiscent of traditional medieval book illustrations.
Screenprint/linocut by Peter Tyndall. Yellow grid of squares connected by two parallel lines, above which is a linocut in black reminiscent of traditional medieval book illustrations.
Screen print by Peter Tyndall. A black grid of squares connected by two parallel lines covers the entire sheet
Screenprint/linocut by Peter Tyndall. Yellow grid of squares connected by two parallel lines, above which is a linocut in black reminiscent of traditional medieval book illustrations.
Screenprint/linocut by Peter Tyndall. Yellow grid of squares connected by two parallel lines, above which is a linocut in black reminiscent of traditional medieval woodcuts.

    The five linocuts on screen prints with the title detail: A Person Looks At A Work of Art/someone looks at something … CULTURAL CONSUMPTION PRODUCTION are Peter Tyndall’s contribution to the graphic portfolio Aus Australien (EB57). Tyndall’s works all bear this title and address the relationship between the artwork and the viewer as a function of the respective historical and cultural practice of perception. The essential symbol that can be found in many of his works is the pattern of squares with two parallel lines, screen-printed in yellow, which is the sole motif printed in black in one of the sheets. It stands for a potential field of links and effects and refers to the dependence of the pictures not only on physical circumstances such as light, frame or hanging, but also on the presence of the viewer. Linocuts reminiscent of traditional medieval woodcuts are printed on top of the grid, echoing the pattern in different ways and linking it to the process of viewing. The prints are stamped with the title and the name “Fosterville Institute of Applied & Progressive Cultural Experience”, a fictitious institution invented by Tyndall that plays with hackneyed phrases of the art world.
    Text: Katrin Seemann