The Story of Minke the Whale by  Tacita Dean

The Story of Minke the Whale 2001

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Dimensions: image: 450 x 685 mm support: 540 x 690 mm

Copyright: © Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Editor: This is Tacita Dean’s "The Story of Minke the Whale," from an unknown date. It's a photogravure showing a whale being hoisted onto a boat, covered in handwritten annotations. It feels both documentary and surreal. What do you see in this piece? Curator: I see a potent commentary on our relationship with the natural world, filtered through the lens of historical exploitation. Dean presents us with a scene of industrial whaling, overlaid with what appears to be scientific or perhaps even poetic observations. Editor: Poetic? How so? Curator: The handwritten text disrupts the supposed objectivity of the photograph, suggesting a more subjective and perhaps even critical reading of this event. The image becomes a stage for a larger cultural narrative around ecological responsibility. The whale, in this context, moves beyond being just an animal. Editor: So, it’s not just about the whale itself, but what it represents in our cultural understanding? Curator: Precisely. It's a powerful reminder of the complex and often destructive relationship between humanity and nature, and how that relationship is shaped by historical practices and cultural values. I learned a lot about how to frame art and history.

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tate 4 days ago

http://www.tate.org.uk/art/artworks/dean-the-story-of-minke-the-whale-p20258

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tate 4 days ago

The Story of Minke the Whale belongs to a portfolio of twenty black and white photogravures with etching collectively entitled The Russian Ending. The portfolio was printed by Niels Borch Jensen, Copenhagen and published by Peter Blum Editions, New York in an edition of thirty-five; Tate’s copy is the fifth of ten artist’s proofs. Each image in the portfolio is derived from a postcard collected by the artist in her visits to European flea markets. Most of the images depict accidents and disasters, both man-made and natural. Superimposed on each image are white handwritten notes in the style of film directions with instructions for lighting, sound and camera movements, suggesting that the each picture is the working note for a film. The title of the series is taken from a convention in the early years of the Danish film industry when each film was produced in two versions, one with a happy ending for the American market, the other with a tragic ending for Russian audiences. Dean’s interventions encourage viewers to formulate narratives leading up to the tragic denouements in the prints, engaging and implicating the audience in the creative process.