About Tate Papers
Tate Papers publishes scholarly articles relating to Tates collection and varied activities as a museum. Appearing in the spring and autumn of each year, the journal publishes articles relating to art history and theory, visual culture, conservation, gallery education and museum studies. Articles are written by Tate staff or external contributors, and are peer reviewed.
Tate Papers also publishes occasionally shorter texts generated within Tate as Reports & Talks. These are not subject to peer review but aim to offer practical information and insights of particular interest to the museum community.
The Editorial Board provides guidance in the selection of articles for publication and comprises representatives from a range of departments at Tate:
- Marko Daniel, Head of Public Programmes
- Adrian Glew, Head of Archive
- Pip Laurenson, Head of Collection Care Research
- Nigel Llewellyn, Head of Research
- Jennifer Mundy, Head of Collection Research and Editor of Tate Papers
- Emily Pringle, Head of Learning Practice, Research and Policy
The Academic Advisory Committee advises on the development of the journal and comprises external specialists in a range of subject areas:
- Dawn Ades, University of Essex
- Jo Applin, University of York
- Bernadette Buckley, Goldsmiths
- Aviva Burnstock, Courtauld Institute of Art
- Duncan Grewcock, University of Kingston
- Ysanne Holt, University of Northumbria
- Ross Parry, University of Leicester
Articles are peer reviewed by members of the Editorial Board, the Academic Advisory Committee or other external specialists, and are accepted only if judged to be of a suitable standard and relevant to the aims of Tate Papers. The judgement of the Editor is final. It should be noted, however, that the opinions expressed in articles and reports published in Tate Papers are not endorsed necessarily by the Editorial Board, the Academic Advisory Committee, or the Board of Trustees of the Tate Gallery.
To submit an article for consideration, please send it as a Word document attachment in an email to the Editor, Jennifer Mundy, Head of Collection Research, Tate (email@example.com). The final deadlines for the submission of articles to the Editor are 1 December for the spring issue and 1 July for the autumn issue, but earlier submission is desirable. (Deadlines for thematic groupings of articles that are brought together and first reviewed by a coordinator may be considerably earlier in order to meet the deadlines for submission to the Editor.) If accepted for publication, authors will be contacted by the broader editorial team, which includes Christopher Griffin, Collection Research Manager (firstname.lastname@example.org) and Alex Cary, Digital Editor (Research) (email@example.com).
Articles should normally not be less than 4,000 words, and typically range up to 8,000 words (though can be longer). They should be written in British English, single-spaced throughout, presented in 12-point Calibri (including headings, endnotes and captions). They also need to contain the following elements in the following order:
- Authors name
- Standfirst (approximately two sentences and no more than 50 words)
- Keywords (for the purposes of searching)
- Notes (endnotes, not footnotes)
- Acknowledgements (including acknowledgement of where the paper has been presented or published elsewhere)
- Authors role or profession (one line only, with no reference to publications or projects, e.g. Richard Durham is Principal Research Fellow at the University of Sussex)
- Copyright line (e.g. Tate Papers Spring 2012 © Stephen Daniels)
- Captions (see style guidelines below)
- List of image copyright holders (including full contact details)
Authors should send a signed copy of a Contribution Agreement to the Editor when submitting a text for consideration, or once the text has been accepted for publication. Texts will not be edited for publication if a signed copy of the agreement has not been received.
Please note that articles are considered on the understanding that they are original and that any related material submitted or in press elsewhere is disclosed on submission. Tate Papers will consider republishing material first printed elsewhere if it relates well to the overall purposes of the journal and providing the necessary permissions are obtained.
Many Tate Papers articles originate from presentations made in seminars or conferences, but authors and coordinators of themed groupings of papers should note that these should be thoroughly revised and, as necessary, reworked in order to meet the expected standards of scholarly exposition and evidence.
It is the responsibility of authors to ensure that their articles conform to house style on submission, using the style guidelines below. Articles that do not conform to house style or meet the expected standards of clarity of expression will not be entered into the peer review process and will be rejected.
Titles and subheadings
Follow the normal rules of capitalisation for the main title but for subheadings give initial letters only to the first word.
Do not indent paragraphs, but do indent long quotations (over sixty words).
Use single quotations marks throughout, and double quotation marks only for quotations within quotations. Do not use quotation marks for indented quotations. Breaks in a quotation should be signalled by an ellipsis (three points) with a space before and after. Do not use an ellipsis at the beginning or end of a quotation. Quotations should have an endnote giving the source, though several quotations can be grouped under a single reference.
At the end of sentences full points should be followed by only one space, not two. Note the omission of a space in the following examples: p.21, no.2, vol.2, c.1820, fig.1. Do not use full points with contractions and acronyms (for example, MoMA, St, Dr, UK). Do not employ apostrophes with 1870s, 1920s etc. For clarity please use, for example, 1920s rather than twenties or 20s.
British English should be used throughout. Use -ise rather than -ize endings; focused rather than focussed.
Non-English words and phrases in common usage should be in ordinary type: only italicise words that are not common or those in an inaccessible language. The term c. (circa) does not need to be italicised, and should not be followed by a space, e.g. c.1880.
Dates and numbers
Follow these patterns: 25 October 1881; in the nineteenth century (not 19th C). Please note the use of a hyphen in such adjectival phrases as twentieth-century art. Note all numbers up to 100 should be written in words, not figures, unless they are measurements.
En dashes (not hyphens) should be used as dashes in sentences and in date and page ranges. Thus, 1932–5, pp.435–59. On PCs it is usually possible to use the following shortcut: hold down the control key and press the minus key located on the numeric keyboard. With Macs, hold down the Apple key and press hyphen.
Please use endnotes only (not footnotes, bibliographies or lists of works cited). Endnote numbers in the text should follow punctuation marks (comma, full stop, quotation mark) and should be Arabic (1, 2, 3) and not Roman (i, ii, iii,). They should be superscript figures, which link electronically to the endnote, not static figures. Follow these models for references:
David Lomas, The Haunted Self: Surrealism, Psychoanalysis, Subjectivity, New Haven and London 2000, p.123.
William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2nd edn, revised by M.E. Holman-Hunt, London 1913, vol.2, p.382.
René Gimpel,Diary of an Art Dealer, trans. by John Rosenberg, London 1986, p.35.
David Hopkins, The Politics of Equivocation: Sherrie Levine, Duchamps Compensation Portrait and Surrealism in the USA 1942–45, Oxford Art Journal, vol.26, no.1, 2003, pp.45–6.
Marcia Pointon, Ambiguity in Action, Times Literary Supplement, 24 October 1980, p.1204.
Note: titles of articles, even if very long, need to have initial capitals.
Henry Moore: Early Carvings 1920–1940, exhibition catalogue, Leeds City Art Gallery, November 1982–January 1983.
Jennifer Mundy, Letters of Desire, in Jennifer Mundy (ed.), Surrealism: Desire Unbound, exhibition catalogue, Tate Modern, London 2001, pp.11–53.
Christina Lodder, Naum Gabo as a Soviet Emigré, Tate Papers, issue 14, Summer 2010, http://tate.org.uk/research/publications/tate-papers/naum-gabo-soviet-emigre-berlin, accessed 6 January 2011.
Unpublished texts or documents
Anne dHarnoncourt, The Awakening Conscience, unpublished MA thesis, Courtauld Institute of Art, University of London 1967, p.14.
Ben Nicholson, letter to Charles Harrison, 18 December 1967, Tate Archive TGA 839/2/19/19.
Please note: titles of articles or essays in volumes or journals follow the normal rules of capitalisation for titles, even if the titles are long.
For references to previously cited material, use Ibid. for a reference to the source given in the preceding footnote. However, avoid other Latin terms such as op. cit, loc. cit. To refer to a source mentioned other than in the immediately preceding reference, give the authors last name and date (e.g. Hopkins 2003) or, where this avoids ambiguity, authors last name, shortened version of title and date (e.g. Hopkins, The Politics of Equivocation 2003).
Captions should follow these models, which provide different types of information, as appropriate:
Umland: Audible in the Mouth 1998
© Doris Salcedo
Early Mutation Green No.2 1960
Oil paint on canvas
1835 x 2134 mm
Presented by E.J. Power through the Friends of the Tate Gallery 1962
© Bernard Cohen
Fraternity students in documenta 2 1959
© ADAGP, Paris and DACS, London 2009
Photograph © Hans Haacke
Body Tracks (Rastros Corporales) 1982
Photograph taken during a performance at Franklin Furnace, New York City
Courtesy Galerie Lelong, New York
© Estate of Ana Mendieta Collection
In the text illustrations should be referred to thus, without a capital letter or space: (fig.1).
Obtaining image files
Authors should send images in JPEG or PNG format (2 Mb constitutes a reasonable size) to the Editor either with the submission, or shortly after it has been accepted for publication. Authors should also supply full written details of the sources of the images supplied. Please note it is the responsibility of the author to obtain digital images from correct sources (for example, museums, libraries). Images should not be photographed from books, or taken from the internet unless under a creative commons licence or similar. Tate Papers will provide images of artworks in Tates collection.
Authors are often able to obtain images for free for their own research purposes and should seek to do so. If the owners of an image needed for the article seek to charge for the digital file, authors should not proceed to purchase the image unless they want to retain and re-use it in their future research. In such cases, authors should supply the editorial team with full details of the owner of the image, and Tate will proceed to pay for the image and clear its copyright. Authors should not contact digital image licensing agencies such as DACS and the Bridgeman Art Library in relation to acquiring images. All such negotiations should be handled by the editorial team.
Please note that only the most essential copyrighted images – those that are discussed in detail and at some length (over several sentences) – should be requested by the author and will be sought by Tate Papers. Please note that, although every effort will be made to secure essential images, it may not be possible to obtain all requested images for a variety of reasons. Authors need to be aware of this potential problem, and accept the Editors judgement in these matters as final.
Authors help in securing copyright, where they are best placed to do so, or have particular knowledge of the copyright owner, will be appreciated. Copies of authors relevant correspondence with copyright owners should be sent to the Editor and retained by Tate. Authors need to identify who the copyright owner of a particular image is, and provide the owners contact details (name, address and email). For works in Tates collection, Tate will have cleared copyright or, if not, will attempt to do so for publication in Tate Papers and elsewhere on Tate’s website.
For works not in Tates collection, please note that a range of copyrights may apply:
- the artist, or his/her heirs for up to seventy years after the artists death
- the owner of the work while the work remains in copyright
- the photographer of the image.
Please note that the information, text and images included in Tate Papers are protected by the Copyright Designs and Patents Act 1988, as amended in 2003 (see Tates approach to copyright). With the exception of fair dealing for the purpose of research or private study, criticism or review, where the appropriate acknowledgement must be given, no part of the contents of Tate Papers may be reproduced, stored or transmitted in any form or by any means without the prior permission in writing from the copyright holder.
Copyright of articles written by Tate staff in work time is vested in Tate, but this is typically waived if authors wish to publish the material elsewhere. External authors retain copyright of their work. In both cases, authors are free to republish the material elsewhere providing acknowledgement that the article was first published in Tate Papers is made.
Comments from readers relating to the content of specific articles are welcome. Emails to the Tate Papers Editor
To submit an article for consideration, please email it as a Word document to the Editor, Jennifer Mundy: firstname.lastname@example.org.