Presented November 17, 2012 at the Nasher Sculpture Center.

Introduced by the Dallas-based, British artist Richard Patterson, British artist Richard Wentworth discusses his extensive archive of photographs chronicling everyday life which suggest an infinite syntax of adjustment, modification and appropriation. The neuro-scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival. As we are guides through his observations of formal and sculptural qualities in human modifications to the world we inhabit, we are bought inside the fold, and with that familiar smile, are able to look at ourselves with sensitivity and humor.

Richard Wentworth has played a leading role in New British Sculpture since the end of the 1970s. His work, encircling the notion of objects and their use as part of our day-to-day experiences, has altered the traditional definition of sculpture as well as photography. By transforming and manipulating industrial and/or found objects into works of art, Wentworth subverts their original function and extends our understanding of them by breaking the conventional system of classification. The sculptural arrangements play with the notion of ready-made and juxtaposition of objects that bear no relation to each other. Whereas in photography, as in the ongoing series Making Do and Getting By, Wentworth documents the everyday, paying attention to objects, occasional and involuntary geometries as well as uncanny situations that often go unnoticed.

Richard Wentworth (b. 1947) lives and works in London. Major solo presentations include Bold Tendencies, Peckham (2015), Black Maria with Gruppe, Kings Cross (2013), Whitechapel Gallery (2010); 52nd Venice Biennale (2009); Tate Liverpool (2005); Artangel (2002); Bonner Kunstverein (1998); Stedelijk Museum (1994); Serpentine Gallery (1993). He studied at Hornsey College of Art, London, from 1965, and worked with Henry Moore in 1967. He also studied at the Royal College of Art, London (1968–70). With artists such as Bill Woodrow and Tony Cragg, Wentworth shared an interest in the unexpected correlation of found objects and industrial materials. He was drawn to imaginative displacements of common objects presented within a high art context (e.g. lightbulbs cased in wire baskets, garden implements slotted in office furniture).

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