Tate Papers

Tate Papers is an online research journal that publishes scholarly articles on British and modern international art, and on museum practice today. These areas reflect the breadth of Tate’s collection, exhibition programme and activities, but articles do not need to refer specifically to Tate or to works in its collection to be deemed suitable for submission to the journal. Leading specialists from around the world contribute to Tate Papers, as do researchers working at Tate, and the journal aims to showcase a range of disciplinary approaches to the study of art and museums.

To ensure the journal maintains the highest standards of scholarship all articles are subjected to a rigorous ‘double blind’ peer review process conducted by specialists. Articles published in Tate Papers are deemed by UK research councils to be suitable for submission to the Research Excellence Framework.

Occasionally the journal also publishes Tate strategy documents and reports. These are not peer reviewed but are included in the journal as they offer information on and insights into the work of museums today.

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CC BY-NC 4.0

Now showing 1 - 10 of 130

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Historically Accurate Reconstructions of Artists’ Oil Painting Materials
(2007)
Carlyle, Leslie
;
Witlox, Maartje
This paper describes a four-year project (2002 to 2006) funded by the Netherlands Organisation for Scientific Research entitled Historically Accurate Oil Painting Reconstruction Techniques (HART) and hosted by the Netherlands Institute of Cultural Heritage (ICN). The aim was to make oil paint and ground reconstructions with as much accuracy as feasible in order to explore historical recipes and workshop practices. Recipe databases were created to ensure representative recipes were used, and the value of sourcing historically appropriate materials was explored. Such ‘historically accurate’ reconstructions of artists materials serve as reference sets for the visual interpretation of painted surfaces, as well as for chemical and instrumental analyses.
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Zen as a Transnational Current in Post-War Art: The Case of Mira Schendel
(2015)
Munro, Majella
In this paper Majella Munro proposes that Zen can be applied as a transnational intellectual framework for the analysis of post-war art. This is tested on the work of the Swiss-born Brazilian artist Mira Schendel, a sensitive and conscientious recipient of Zen influence, in order to clarify her relationship to Zen concepts and practices, and to describe Zen’s contribution to the cultural diversity of Brazil.
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New Media Art and the Gallery in the Digital Age
(2004)
Gere, Charlie
This paper examines some the changes that digital technology has wrought upon conceptions of space, time and culture, and how ‘new media art’ has historically reflected upon these. It suggests that such art might be better represented in institutions such as Tate, which in turn might help them engage with the question of what their own role might be in the digital age.
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Value and Audience Relationships: Tate’s Ticketed Exhibitions 2014–15
(2016)
Dima, Mariza
In this report Mariza Dima sets out the findings of a research project examining the experiential and educational value of Tate’s ticketed exhibitions to its audiences. Exhibition planning, the contributions of small and medium-sized enterprises and the museum’s data-gathering practices are explored, taking the 2014 exhibitions Late Turner and Malevich as case studies.
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Painting the Global History of Art: Hale Woodruff’s The Art of the Negro
(2018)
Kravagna, Christian
This paper shows how African American artist Hale Woodruff’s 1950–1 mural cycle The Art of the Negro depicts a transcultural art history that embeds the genealogy of modern art within the history of mankind, colonial violence and the politics of liberation. It discusses the specific ways that Woodruff used the murals to negotiate the divergent requirements of abstract expressionism and black historiography on the eve of the civil rights movement in the United States.
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Lines of Sight: Alfred Watkins, Photography and Topography in Early Twentieth-Century Britain
(2006)
Daniels, Stephen
Alfred Watkins (1855–1935) originated the idea of ley-lines and surveyed alignments which articulated the prehistoric landscape of Britain, in his native Herefordshire in the 1920s. Despite the scepticism of academic archaeologists, his vision of ley-lines helped shape popular views of British landscape in the interwar years, and, during a revival of Watkins’s work from 1969, practices and perceptions of British land art.
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Lessons Learned
(2009)
Haacke, Hans
The artist Hans Haacke presents a career overview of his involvement with recurring exhibitions, from documenta 2 (1959) via the Venice Biennale (1993) to the 7th Gwangju Biennale (2008). Citing examples of his own contributions to major museum exhibitions (including Information at the Museum of Modern Art, New York, in 1970), he explores the complex relations an artist has with institutions and their curators.
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Performing Global African Culture and Citizenship: Major Pan-African Cultural Festivals from Dakar 1966 to FESTAC 1977
(2018)
Murphy, David
This article traces the ways in which the understanding and expression of global African culture and citizenship evolved across a series of major pan-African cultural festivals held between 1966 and 1977 in Dakar, Algiers and Lagos. It argues that these festivals were part of a general shift from political pan-Africanism to cultural pan-Africanism, and counterbalances the festivals’ grand, official, national narratives with the individual encounters fostered by the events.
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Edward Hopper and British Artists
(2006)
Fraser Jenkins, David
This article examines the changes in Edward Hopper’s painting style during his stays in Paris between 1906 to 1910, and compares his work to that of certain British contemporaries, notably Walter Sickert, Gwen John and J.D. Fergusson. The comparison highlights Hopper’s response to the legacy of Impressionism and his highly individual approach to the sensuality of life in the modern city.
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From the Green Box to Typo/Topography: Duchamp and Hamilton’s Dialogue in Print
(2005)
Thirkell, Paul
This paper examines Marcel Duchamp's use of the collotype printing process for publishing the contents of his Green Box and Boà®te-en-valise in the 1930s. It subsequently traces the linguistic and graphic interpretations of this work by the British artist Richard Hamilton in his 1960 The Green Book and in his recent fusion of this work with the 'topography' of the Large Glass in the print Typo/Topography, published in 2003.

Tate Papers

Tate Papers

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