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The Ultimate Anxiety.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-36.jpg
Title	The Ultimate Anxiety.
Creator	Morley, Malcolm (English painter, born 1931)
Date	1978
Cultural Context	Venetian Italian British English European Western European
Style/Period	Contemporary Postmodern
Theme	Paintings (visual works) Oil paintings (visual works) Marines (visual works) Seascapes Landscapes (representations) Scenes (depictions) Ceremonies Ascension Day Harbors Bodies of water Ships Boats Galleys (watercraft) Watercraft Sailing ships Sailing vessels Sailing Sails Bows (vehicle components) Oars Gondolas (flat-bottomed watercraft) Vehicles (transportation) Trains (vehicle groupings) Railroad cars Boxcars Freight cars Locomotives Logos Logotypes Landings (marine structures) Figurative art Figures (representations) Men (male humans) Women Seamen Reproductions Appropriation (imagery)
Subject	Paintings Oil paintings Marines (Visual works) Seascapes Landscapes (Representations) Rites & ceremonies Harbors Bodies of water Ships Boats Sailing ships Galleys (Ships) Vessels Sailing Gondolas Rowboats Vehicles Railroad cars Railroad locomotives Railroad freight cars Logos Men Women Gondoliers Rowers Rowing People associated with transportation Reproductions
Description	"Although resident in America, Morley was the first winner of the Turner Prize in 1984. Funded by the 'Patrons of New Art' affiliated to London's Tate Gallery, this prize was subsequently awarded annually for 'outstanding contributions' to British art. Conceived as an equivalent of the Booker Prize (for literature), it reflected something of the entrepreneurial spirit of 'Thatcher's Britain', attracting considerable publicity to the Tate, where shortlisted artists' works were exhibited. Winners have included Damien Hirst (1995) and Gillian Wearing (1997)." (Caption, p.214); "A British-born painter who had worked in America since 1958, Morley had pioneered a form of 'photorealism' (also dubbed 'hyper-' or 'super-realism') in America in the mid-1960s, producing images such as SS Amsterdam in Front of Rotterdam (1966) which were painstakingly transposed from photographs. In the early 1970s other artists achieved critical and commercial success from related practices. Painters such as Philip Pearlstein, Chuck Close, and Richard Estes, translated the pictorial plenitude of photographs into glossy painted surfaces, densely encoded with visual information. At the same time the sculptor Duane Hanson made uncanny direct-cast replicas of live figures, painting them illusionistically and dressing them in actual clothes. […] As photorealism became fashionable, however, Morley grew frustrated with his seamless surfaces. This is dramatized in The Ultimate Anxiety (1978), in which a depiction of a train cuts incongruously across an image transposed from a postcard reproduction of a painting by the Venetian master Francesco Guardi [Departure of the Bucentaur Towards the Venice Lido on Ascension Day]. This work relates to other 'catastrophe' pictures Morley produced at this time such as The Day of the Locust (1977), in which a Pop-like replication of the cover of the Los Angeles Yellow Pages appears to be eaten away from the inside by swarms of imagery. Morley produces a refreshingly direct response to the cultural relativism of his times. But he also dramatizes the peculiar sense of dislocation which arises as different orders of representation intrude upon one another." (Excerpt, p.213)
Location Depicted	Venice (Italy) Italy
Material	Oil on canvas Oil paint (pigmented coating) Paint Canvas
Measurements	184.2 x 248.9 cm
Technique	Oil painting (technique) Painting (image-making)
Inscription	Logo on train car, center of painting: GT
Work Type	Paintings Oil paintings
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.214, fig.109)
Rights	Photograph reproduced in Hopkins courtesy: Sperone Westwater, New York.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-36.jpg
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