Dimensions: image: 537 x 749 mm
Copyright: © The estate of Dieter Roth | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Look at this wonderful print, "Big Tardt for Richard," by Dieter Roth. Roth, born in 1930, was part of the Fluxus movement, known for its experimental and often humorous approach to art. Editor: It's wonderfully absurd! That smiley-faced sun, the giant blobby forms... it’s like a child's drawing after a sugar rush, but executed with such graphic confidence. Curator: Roth challenged traditional artistic boundaries, embracing chance and impermanence. His work often incorporates everyday materials, reflecting his interest in the mundane and the fleeting nature of existence. Editor: I see a boat, maybe? With tiny figures? Are those hills in the back or some kind of crazy pastries? It teeters on the edge of comprehensibility, which is utterly captivating. Curator: Roth often used his art to explore themes of consumption, decay, and the passage of time, critiquing consumer culture and questioning traditional artistic values. Editor: It's strangely beautiful, this chaotic jumble. A bit unsettling, too. Like a half-remembered dream. Curator: Yes, it reflects Roth's questioning of the very nature of art itself. Editor: I appreciate how it makes me question everything I thought I knew. Good art should do that, right?
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http://www.tate.org.uk/art/artworks/roth-big-tardt-for-richard-p01850
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The friendship between Roth and Richard Hamilton was confirmed in the dedication of works between one another. Big Tardt for Richard is one of these. Roth’s fondness for word-play, often across several languages, is evident in this title which plays on the pastry (seen in the middle with a sausage on top) and a dismissive terms for loose woman (whose breasts stand up beyond). The outline of a figure in the foreground may conflate the two artists, as Roth’s self-portraits often feature the protruding ears. Gallery label, March 2007