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 These are not peer reviewed but are included in the journal as they offer information on and insights into the work of museums today.

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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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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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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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William Hazlitt’s Account of ‘Mr Angerstein’s Collection of Pictures’
(2015)
Avery-Quash, Susanna
Hazlitt’s account of the Angerstein Collection was published anonymously in 1822, two years before Lord Liverpool purchased thirty-eight pictures from it to form the nucleus of the National Gallery. This paper considers Hazlitt’s essay within the wider context of writing about art collections in the early nineteenth century, which was then a new and developing field, and compares it with other publications on Angerstein’s pictures to highlight the distinctive qualities of Hazlitt’s art criticism.
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Developing the Practitioner-Researcher Within the Art Museum
(2018)
Pringle, Emily
This paper sets out to explore how research functions in the art museum, and whether our understanding of research and the researcher needs to change in light of how museums are expected to operate in the twenty-first century. Recognising the need for museums to be open, democratic and discursive spaces, the paper seeks to outline an active role for practice-led research within the gallery, while identifying the value of constructing the museum professional as a practitioner-researcher.
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Placing Bookmarks: The Institutionalisation and De-Institutionalisation of Hungarian Neo-Avant-Garde and Contemporary Art
(2016)
Fowkes, Maja
;
Fowkes, Reuben
The recent interest in avant-garde art from Hungary shown by international museums such as Tate has been paralleled by transformations to the country’s art institutions as a consequence of sweeping political changes. This essay contextualises these changes in relation to the expanding global market for art from the region, and examines the impact that initiatives by private galleries as well as artists and curators are having on the writing of a critical history of Hungarian art.
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Documentation and the Information of Art
(2018)
Kosciejew, Marc
This article outlines a documentary approach to the study of artistic practice, focusing on the ways in which information is materialised. It explores how processes of making, framing and interpreting art can be seen through a documentary lens, which offers an interdisciplinary perspective on the way information is created, conveyed and consumed.
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Locating Cosmopolitanism within a Trans-Atlantic Interpretive Frame: Critical Evaluation of Sargent’s Portraits and Figure Studies in Britain and the United States c.1886–1926
(2017)
Stephenson, Andrew
This article examines how John Singer Sargent’s American nationality, his Anglo-American expatriate experience and his works’ cosmopolitanism coloured the views of British and American art writers. Notwithstanding his great success as a painter, these writers remained conflicted about the nature of his cosmopolitan sensibility throughout his life and afterwards.
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‘Truth of Character from Truth of Feeling’: William Hazlitt, ‘Gusto’ and the Linguistic History of Writing on Art
(2015)
Tucker, Paul
Adapting and applying speech act theories of language use, this paper offers a new understanding of the innovative import of William Hazlitt’s art criticism. Textual and rhetorical analysis of a sample of his critical writing – the 1821 essay ‘On a Landscape of Nicolas Poussin’ – illustrates Hazlitt’s development of ‘characterisation’, a mode of representation of the individual artwork focusing on its perceptual and affective appeal to a responsive viewer.

Tate Papers

Tate Papers

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