coolhARTing

Blood Swept Lands and Seas of Red The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.

Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war. The poppies will encircle the Tower, creating not only a spectacular display, but also an inspiring setting for learning activities, as well as providing a location for personal reflection. The scale of the installation reflects the magnitude of such an important centenary, creating a powerful visual commemoration. The last poppy will symbolically be planted on 11 November 2014.

Buy a poppy

Each ceramic poppy will be available to buy for £25 (+p&p) from 5 August 2014. 10% from each poppy, plus all net proceeds, which we hope will be millions of pounds if all poppies are sold, will be shared equally amongst six service charities.

The charities chosen are Confederation of Service Charities (COBSEO), Combat Stress, Coming Home, Help for Heroes, Royal British Legion and SSAFA (formerly the Soldiers, Sailors, Airmen and Families Association). 

Tomoaki Suzuki 

Japanese artist Tomoaki Suzuki’s diminutive sculptures put a decidedly contemporary twist on the millennia-long tradition of Japanese woodcarving. Suzuki creates painstakingly detailed portraits of diverse urban youths at one-third their actual size. 

Marina Abramovic on Rhythm 0 (1974)

Anthony Luensman, Ladder Lake.

Kohei Nawa forms a cloud-like landscape made of foam.

Nature Against Culture

Spencer Tunick stages scenes in which the battle of nature against culture is played out against various backdrops, from civic center to desert sandstorm, man and woman are returned to a preindustrial, pre-everything state of existence.  Tunick has traveled the globe to create these still and video images of multiple nude figures in public settings. Organizing groups from a handful of participants to tens of thousands, all volunteers, is often logistically daunting; the subsequent images transcend ordinary categories and meld sculpture and performance in a new genre. Spencer Tunick's body of work explores and expands the social, political and legal issues surrounding art in the public sphere. Since 1992, Tunick has been arrested five times while attempting to work outdoors in New York City. Soon after his fifth arrest in Times Square in 1999, determined to create his work on the streets of New York, the artist filed a Federal Civil Rights Law Suit against the city to protect himself and his participants from future arrests. In May 2000, the Second U.S. District Court sided with Tunick, recognizing that his work was protected by the First Amendment of the U.S. Constitution. On June 3 of the same year, in response to the city's final appeal made to Justice Ruth Bader Ginsburg and the court at large, the U.S. Supreme Court also ruled in favor of Tunick by remanding the case, allowing the lower court decision to stand and the artist to freely organize his work on New York City streets. Four months later, Tunick applied for his first New York City permit after winning the case, and was denied.   In order to make his work without the threat of arrest the artist took his work abroad. He has not undertaken a group installation on the streets of New York in over ten years.  Tunick's most notable works have been commissioned by Art Basel, Switzerland (1999), Institut Cultura, Barcelona (2003), XXV Biennial de Sao Paulo, Brazil (2002), The Saatchi Gallery(2003), MOCA Cleveland (2004), Vienna Kunsthalle (2008), among others.