Phyllida Barlow, dock, 2014, mixed media. Installation view.

Phyllida Barlow

Tate Britain

Phyllida Barlow, dock, 2014, mixed media. Installation view.

Over the past decade, Phyllida Barlow has deservedly moved from being a cult artist to exhibiting on the international circuit. This year saw a triple bill from the septuagenarian, including a retrospective of drawings at Hauser & Wirth in London and the inaugural exhibition at the gallery’s new venue in Somerset, but by far the most important of the three shows was the Duveen Galleries commission at Tate Britain. For a sculptor, this is one of the most visible platforms in the country—essentially a long, cavernous hall with vaulted ceilings from which various galleries radiate. Barlow’s ambitious response to the commission was a group of seven sculptures, collectively titled dock, 2014, with which she essentially disrupted the natural flow of visitors through the space.

Barlow has said that her drawings “often originate from half-remembered things.” Likewise, traces of the

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