This is film treated as painting, and asked what she might do if it became impossible to work with analogue film any longer, Dean replied that she might go back to painting or might become a writer. Dean’s films act as portraits or depictions rather than conventional cinematic storytelling, capturing fleeting natural light or subtle shifts in movement. Portrait by Nick McRae, courtesy the artist, Frith Street Gallery and Marian Goodman, Find the book Tacita Dean (Contemporary Artists) on Amazon, Buy tickets for Tacita Dean: FILM at Tate Modern until 11 March, 2012, Exposed: Voyeurism, Surveillance and the Camera, Tate Modern, Francis Alÿs: A Story of Deception, Tate Modern, Michael Clark: Cosmic Dancer, Barbican Art Gallery review - mould-breaker, ground-shaker, Sin, National Gallery review - great subject, modest show, Bruce Nauman, Tate Modern review - the human condition writ large in neon, Artemisia, National Gallery review - worth the wait, Hold Still, National Portrait Gallery review - snapshots from lockdown, My Rembrandt review - hard cash and hubris, George IV: Art & Spectacle, The Queen's Gallery review - all is aglitter, Khadija Saye: In This Space We Breathe, 236 Westbourne Grove review - a celebrated series finds new resonance, The Golden Age of Modern Spanish Art, Colnaghi review - the sun shines in the City of Light, Visual Arts Lockdown Special 4: half-way houses, Celia Paul: My Studio, Victoria Miro review - sublime isolation, Shirley Baker: A Different Age, James Hyman Gallery review - the old at leisure. Images, some familiar from Dean’s previous works, such as lightning, trees and seascapes, are juxtaposed with panels of colour and interact with the grid structure of the wall. The steel beams which clad the walls also structured the composition of the various montage shots, while the long and narrow series of windows on the far wall recalled the strips of film, offering the viewer a complex interweaving of film and setting, real and artificial world. She was a nominee for the Turner Prize in 1998, won the Hugo Boss Prize in 2006, and was elected to the Royal Academy of Arts in 2008. As FILM was projected on a screen in the Turbine Hall, the architecture of Tate Modern became an integral element of the work. Dean’s interest in the cinematic also extends to her work in other media. She also revived techniques such as glass matte painting; to mimic lightning, she painted a jagged line across glass and shone a light through it. Some images, such as a fountain, tree or sunlight filtering through leaves, fill the entire screen and, since the film is silent, such moments assume an almost religious intensity. http://www.tate.org.uk/press/press-releases/unilever-series-2011-tacita-dean, https://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-review, https://www.independent.co.uk/arts-entertainment/art/reviews/tacita-dean-turbine-hall-tate-modern-london-2371148.html. Tate Modern’s lofty Turbine Hall is dominated by a giant CinemaScope screen flipped on its side so it becomes 42ft high and resembles a lift shaft or cathedral window. It is cool and passionate, lovely and weirdly old-fashioned.’ (Adrian Searle, ‘Tacita Dean: Film – Review, Guardian, 10 October 2011, https://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-review, accessed 25 June 2018.). Dean’s characteristic celebration of what is normally considered waste in filmmaking, such as the picture fading at the tail end of a roll, flash frames of over-exposure as the camera stops and starts, and the shimmering metamorphosis of a colour filter change, are also evident in this work. Even for Dean, who insists that “I don’t like to know where I’m going”, that is cutting it a bit fine. But editing FILM proved more hair-raising than anticipated. We would like to hear from you. Nicholas Cullinan (ed. Dean’s film allows the ever-changing light of this environment to fall in rhythm with the dancers’ movements. Not surprisingly she describes FILM as a portrait of film that pays homage to the medium. When the work was shown as part of the Unilever Series in 2011–12, it was projected on a specially made screen on the eastern wall of the Turbine Hall. Most often, though, Mondrian is the artist who comes to mind as shimmering colours irradiate various sections of the grid-like structure. Tate Modern has often been referred to as a cathedral of culture and, in this context, the east window assumes the significance of the east window of an actual cathedral; in some shots, a cathedral window even replaces parts of the industrial structure. I found the rhythms and metre from the material itself, relying not only on the images I had but on what is normally considered waste: the picture fading at the end of a roll, the shimmering metamorphosis of a filter change and the flash frames of over-exposure as the camera stops and starts. Notes to accompany the 2001 Tacita Dean exhibition with images of key works, contextual information and discussion questions. Installed at Tate Modern, 2011. Dean made FILM by turning a Cinemascope lens ninety degrees, upending the usual landscape format so it becomes vertical and in scale with the proportions of Tate Modern’s Turbine Hall, for which the work was commissioned in 2011 as part of the Unilever Series.