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Hamish Fulton: Walking Journey14 March-4 June 2002 This major exhibition of work by Hamish Fulton was the first contemporary show to be held in Tate Britain's new Linbury Galleries. The focus was the artist’s output of the last ten years, but some sense of Fulton’s development, and an indication of the consistency of his approach, was given by the inclusion of certain key earlier works. These included a group of important photographic pieces from the late 1960s and early 1970s which have not been exhibited since that time. The full range of Fulton's work was presented: black and white photo-text works, prints and books, wood and ribbon works, and large scale wall-works (including a major wall painting of a 1996 River Thames walk, outside the exhibition at the foot of the staircase in the Manton Entrance). The exhibition was curated by Ben Tufnell, assisted by Louise Hayward. New Generation Sculpture - Duveens Display25 March-19 August 2002 This collection display of New Generation sculpture brought together work by Philip King, Michael Bolus, David Annesley, Tim Scott, William Tucker, William Turnbull and Isaac Witkin. Many of the pieces included are part of the McAlpine gift and had recently undergone conservation treatment, and this was a timely opportunity to show them. The display also coincided with an exhibition at the Whitechapel Gallery which referred to the original New Generation series of shows there in the 1960s, and featured the work of a younger generation of sculptors such as Gary Webb and Graham Little. The Whitechapel show was linked to Tate Britain with an event there that brought the two generations of artists together. Some works on paper by the younger artists were exhibited in the adjacent Gallery 61. The Whitechapel produced a catalogue including images of the works on display at Tate Britain. The display was curated by Mary Horlock and Chris Stephens. Lucian Freud20 June-22 September 2002 Sponsored by UBS Warburg This major exhibition was the first retrospective of Lucian Freud’s work to be held in London in over a decade. Bringing together key works from Freud’s entire career, the exhibition comprised of 156 paintings, drawings and prints and provided an exciting opportunity to see his exceptionally productive period of the last twenty years in the context of earlier decades. Freud had made several new works for the show including a striking self-portrait. The exhibition was curated by William Feaver, with Mary Horlock and Lizzie Carey-Thomas. It travelled to Fundació ‘la Caixa’, Barcelona, and The Museum of Contemporary Art, Los Angeles Thomas Girtin: The Art of Watercolour4 July - 29 September 2002 Supported by Safeway plc Timed to coincide with the bicentenary of Girtin's death, the exhibition was a comprehensive survey, comprising some 200 of his works. The exhibition placed Girtin in the broader context of watercolour practice of the time and therefore included groups of works by his contemporaries and followers. Alongside this, emphasis was placed on the artist's working methods and also on the technical innovations introduced by Girtin and his fellow watercolourists. The exhibition was […] curated by Greg Smith, a leading expert in the history of watercolours and Anne Lyles, Collections Curator at Tate. Anya Gallaccio: Beat - Duveens Contemporary Commission16 September 2002-20 January 2003 Supported by Malvern English Mineral Water, with support from the Henry Moore Foundation. Cerestar and British Sugar have given sponsorship in kind. Anya Gallaccio fixed upon an archetypal symbol of both the national landscape and the nation itself - the English oak tree as the key element of her Duveens commission. Seven oak tree trunks occupied the South Duveens. Standing at the far end of the North Duveens, a gigantic root base had water pumping through it, trickling slowly across the surface. Another natural substance - sugar – had also been brought in to the North Duveens. Thick tiles cast in molten sugar were layered across a small section of the floor. The project was curated by Mary Horlock and Rachel Meredith Gainsborough24 October 2002 - 19 January 2003 Sole Sponsor The British Land Company PLC As one of the most original painters of portraits, landscapes and subject pictures of the eighteenth century, Thomas Gainsborough has long been admired as a quintessentially British artist. This was the most important and wide-ranging exhibition of the artist's work held to date. Encompassing over 150 major paintings, drawings and prints, it offered a dynamic new vision of the artist. The selection included many of the most famous images in the whole of British art - including as Mr and Mrs Andrews, The Watering Place, Countess Howe, Ann Ford and Mrs Sheridan. Exceptional groups of loans came from the National Gallery, London; the Huntington Library, San Marino; the Pierpoint Morgan Library, New York; English Heritage, Kenwood House, London; and the Royal Collection Trust, London; with further loans coming from across Britain and America, Canada, Germany and Australia. The exhibition was curated by Professor Michael Rosenthal of the University of Warwick, author of The Art of Thomas Gainsborough (1999) in close collaboration with Martin Myrone and a consultative team. This was the first full-scale Gainsborough exhibition to be seen in America, and toured, in altered form, to the National Gallery of Art in Washington DC and the Museum of Fine Arts in Boston. Turner Prize 200230 October - 19 January 2003 Sponsored by Channel 4 The four shortlisted artists were Fiona Banner, Liam Gillick, Keith Tyson and Catherine Yass. The 2002 Turner Prize was awarded to Keith Tyson. The exhibition was curated by Katharine Stout and Lizzie Carey-Thomas. Self-Evident: Making the Self the Subject of Art from 1970 to the Present Day28 Oct 2002 - 19 Jan 2003 For the first time, Tate Britain presented a themed exhibition from the
collection. This exhibition explored artists' use of their own bodies
and identities in their work. It was an examination of a major strand
in British art of the last few decades and provided a historical context
for more recent work seen at Tate Britain in the Turner Prize and other
exhibitions and displays. The exhibition was devised and curated by Mary
Horlock and Katharine Stout. Constable to Delacroix: British Art and the French Romantics 1820 - 18406 February -11 May 2003 Supported by John Lyon's Charity This major exhibition investigated cultural exchanges between France and Britain during the period of High Romanticism. The period under scrutiny was the two decades separating the Bourbon Restoration in 1816 from the accession of Queen Victoria in 1837, when fascination with every level of Anglo-Scottish culture played a formative role in the development of modern French art. Affinities between the two schools in matters of theory, subject preference, and technique were explored through a number of associated themes as well as interrelations between a range of key artists. The exhibition included a reconstruction of the highly successful 1820 exhibition of Géricault’s Raft of the Medusa in the Egyptian Hall, Piccadilly, with a full scale copy of the original painting, executed by French Academicians in 1859. The exhibition was curated by Patrick Noon, and Patrick and Aimee Butler at the Minneapolis Institute of Arts, with Tate curators David Brown and Christine Riding as co-curators. The exhibition toured to Minneapolis Institute of Art and the Metropolitan Museum of Art in New York under the title Crossing the Channel: French and British Painting in the Age of Romanticism Days Like These: Tate Triennial of Contemporary British Art 200326 February - 26 May 2003 In partnership with Volkswagen for Phaeton and Touareg with additional support from The Glass-House Trust. The Tate Triennial was inaugurated in 2000 with the exhibition Intelligence. The aim of the Triennial is to provide an important forum for the discussion of British art both in Britain and abroad, taking stock of developments in contemporary art practice in the preceding three years. The second triennial, Days Like These, was curated by Jonathan Watkins, Director of the Ikon Gallery in Birmingham, and Judith Nesbitt at Tate. The exhibition did not have a theme and did not attempt to summarise the whole of current practice. Its intention rather, was to present artists whose work the curators found compelling and relevant at that moment, and who had connections and correspondences that were present and illuminating but not prescriptive. Entry to the exhibition was free, with the intention that it be as accessible as possible and it reached a large and broad audience. Wolfgang Tillmans If one thing matters, everything matters6 June - 14 September 2003 Supported by Tate International Council This was the first monographic museum exhibition in the UK of Wolfgang Tillmans’s work and was conceived especially for the galleries at Tate Britain. It focused on key moments in his career and recreated a number of specific installations, while also showcasing new works made for the Tate exhibition, including a number of abstract photographic compositions. While continuing to explore the potential of the still image Tillmans has begun to work with video, and there was one video installation in the presentation. Tillmans also curated a number of evening events in early September, before the close of his exhibition, as part of the Tate and Egg Live programme. This exhibition was curated by Mary Horlock in close collaboration with the artist, assisted by Lizzie Carey-Thomas. Bridget Riley26 June-28 September 2003 Supported by Tate Members Bridget Riley is one of Britain’s most respected senior artists and one of the few contemporary British painters with a truly international reputation. Her distinguished and singular career encompasses forty years of uncompromising and remarkable innovation. This Tate exhibition was the first comprehensive survey of Riley’s entire career and included key works from all phases of her career. As such it offered the opportunity both to review early, well-known, paintings and to also see these afresh in the context of works produced since then and up to the present day. It consisted of approximately sixty major paintings from public and private collections in the UK, Europe and the US.. The exhibition was curated by Paul Moorhouse and Ben Tufnell in close collaboration with the artist. Lynn ChadwickSeptember 2003 - March 2004 Duveen Galleries & Sculpture Court Lynn Chadwick was one of the leading figures of the generation of British sculptors who secured international reputations during the 1950s. He was one of the nine artists whose work was described by the critic Herbert Read as ‘the geometry of fear’ when shown at the 1952 Venice Biennale. Chadwick went on to win the International Prize for Sculpture at Venice four years later. His work has continued to focus on the human figure or on animals, and the potential for both to express intense emotion through movement or stasis. This selective presentation in the Duveen Galleries and the outdoor Sculpture Court was drawn from Tate’s and the artist’s own collections and covered the breadth of his career. The exhibition was curated by Chris Stephens. Turner and Venice16 October 2003 - 11 January 2004 Sponsored by Barclays This ambitious exhibition explored Turner's relationship with Venice. Although it is recognised that Venice played a crucial part in the development of Turner’s late style, there had hitherto been no comprehensive survey of the work he produced in response to the city’s unique history and environment. The exhibition presented the city through Turner’s eyes, showing his remarkable and sustained vision of it, without parallel in the work of any artist, with the exception of Canaletto. The presentation explored the influences that shaped Turner’s experience of the city, and his interest in the work of Venetian artists such as Titian, Bellini and Canaletto, as well as writers from Shakespeare to Byron. It also included works by Turner’s contemporaries to create a sense of the competitive market for which Turner painted views of Venice. Turner and Venice was curated by Ian Warrell. It toured to the Kimbell Art Museum in Forth Worth and will then travel in reduced form to the Correr Museum in Venice and ‘La Caixa’ in Barcelona. Turner Prize 200329 October 2002 - 18 January 2003 Sponsored by Channel 4 The four shortlisted artists were Jake and Dinos Chapman, Willie Doherty, Anya Gallaccio and Grayson Perry. The 2003 Turner Prize was awarded to Grayson Perry. The exhibition was curated by Katharine Stout and Lizzie Carey-Thomas. Pre-Raphaelite Vision: Truth to Nature12 February - 3 May 2004 With support from The Ahmanson Foundation, The Starr Foundation and Mrs Coral Samuel CBE Media partner: The Daily Telegraph. Pre-Raphaelitism was a movement that not only transformed subject painting but also fundamentally altered English approaches to landscape painting in the 1850s and remained influential long after. The exhibition presented some of the most memorable, closely observed, depictions of the natural world ever made. There has never before been an exhibition devoted specifically to Pre-Raphaelite landscape painting. Tracing the development of an art movement that was deeply rooted in the scientific, religious and social culture of its age, the exhibition grouped works within the following themes: Selecting Nothing, Rejecting Nothing, The Mere Look of Things, Holy Lands, Understanding the Landscape, The Inhabited Landscape, and Impression of the Effect. The exhibition was curated by Allen Staley and Christopher Newall (external curators) and Alison Smith, Ian Warrell and Tim Batchelor. The exhibition toured to Alte Nationalgalerie in Berlin followed by Fundacio ‘La Caixa’ in Madrid. In-A-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas3 March - 31 May 2004 Supported by Tate Members In-A-Gadda-Da-Vida was a unique collaboration between three of Britain's
best-known contemporary artists. Angus Fairhurst, Damien Hirst and Sarah
Lucas first met on the fine art course at Goldsmiths College, London 1986
and have remained close friends, influencing each other's work through
a process of social interaction and intermittent collaboration. This was
the first time that the three artists have worked together to realise
a full scale exhibition installation, which included new work by all the
artists. The exhibition's title is a mangled version of the phrase ‘in
the garden of Eden’ which occurs in a 1968 recording by the psychedelic
rock band Iron Butterfly. Here it refers to the biblical theme of the
exhibition, which was curated by Clarrie Wallis and Gregor Muir.  |
 Sir David Wilkie |
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