Dimensions: support: 404 x 304 mm
Copyright: © The estate of Keith Arnatt | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: So, here we have Keith Arnatt's photograph, "Gardeners." It's a black and white shot of a man amidst lush foliage. The material reality seems so grounded. What do you see in this piece? Curator: I see a commentary on labor and the means of production, even in what appears to be a domestic scene. Consider the gardener's clothing, the tools he uses. What kind of work is being represented here? Editor: It does make you wonder about the value of labor, doesn’t it? The garden is obviously cared for, but it also looks wild and untamed. Curator: Exactly! It challenges the notion of art as separate from everyday existence and labor. We can explore how materiality represents social and cultural dynamics. Editor: That's a perspective I hadn't considered before. I'll definitely look at art through a different lens now. Curator: And that’s the beauty of art, isn’t it? To question and reinterpret the means of production and cultural values.
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Gardeners 1978–9 is a large series of black and white photographs that depicts individuals standing outdoors in the gardens they tend, which vary in character from sprawling fields in the countryside to small urban front gardens. Although the gardeners’ poses, expressions and clothing differ, they are all shown full-length standing in the mid-ground of the scene and looking towards the camera. The selection of forty prints from this series in the Tate collection (Tate T13087–T13126) was made and exhibited in 1979 for Keith Arnatt’s solo exhibition at the Anthony d’Offay Gallery, London. A different selection of prints was exhibited in his 1989 touring solo exhibition Rubbish and Recollections (Cambridge Darkroom; Oriel Mostyn, Llandudno; The Photographers’ Gallery, London; Ffotogallery, Cardiff). Arnatt took the photographs that make up this series during 1978 and 1979. To do so, he visited the sitters at their homes, photographing them in their own gardens. The series title, Gardeners, focuses the viewer’s attention on the gardeners rather than the gardens themselves, although the way in which Arnatt presents the individuals surrounded by the grass, foliage and sometimes concrete of their settings, with little else in view, suggests the intimate connection between the gardeners and their land. The repetitive nature of the composition and poses across each of the forty photographs also has the effect of drawing together a diverse group of people who have been photographed as a result of a shared hobby.