Staff profile: Jennifer Mundy

Jennifer Mundy, Head of Collection Research

Work at Tate

Jennifer Mundy is responsible for developing strategy for collection research at Tate and leads a range of initiatives and projects. Based in Tate’s Research Department, she manages a team that oversees the online publication of research on Tate’s art and archive collection. She was the founding editor of Tate’s online research journal, Tate Papers, and oversees the Tate Style Guide. Before 2007 she was Head of International Art at Tate and curated several exhibitions and displays, including Surrealism: Desire Unbound (2001). She represented Tate in the Getty’s Online Scholarly Catalogue Initiative and speaks regularly about museum research. In 2012 she curated the prize-winning online exhibition The Gallery of Lost Art, and she currently manages Tate research projects on J.M.W. Turner, Henry Moore, modern American art and performance at Tate.

Joined Tate 1987.

Research interests

Jennifer Mundy’s research has centred on early twentieth-century art, both British and international. She has a special interest in the fields of dada, surrealism and abstraction, and, in particular, the work of such artists as Claude Cahun, Marcel Duchamp, Hans Hartung, Man Ray, Francis Picabia and Dorothea Tanning. She has also worked in the fields of ‘lost art’ and art writers in Britain. Currently she is a general editor of a research project on Henry Moore and is managing a new initiative on American art at Tate (2014–17). She is also a Co-Investigator in a project funded by the Arts and Humanities Research Council that investigates the history of performance and performative art at Tate (2014–16), and is a co-supervisor of doctoral students working on performance and on the writings of David Sylvester.

Jennifer Mundy presenting at the Against the Avant-Garde? conference in 2008, where she reflects on the Duchamp, Man Ray, Picabia exhibition, its making and its aims. Watch the rest of the conference

Selected publications

  • Man Ray: Writings and Statements on Art, Los Angeles (forthcoming).
  • ‘Lawrence Alloway and the Crisis of Criticism in the 1970s’, in Lucy Bradnock, Courtney Martin and Rebecca Peabody (eds.), Lawrence Alloway: Art Criticism and the Work of Culture, Los Angeles 2014 (forthcoming).
  • Lost Art: Missing Artworks of the Twentieth Century, London 2013, 288pp.
  • Edited with Ysanne Holt and Helena Bonett, The Camden Town Group in Context, Tate, London 2012.
  • ‘The Naming of Biomorphism’, in Olivar Botar and Isabel Wünsche (eds.), Biocentrism and Modernism, Farnham 2011, pp.61–75.
  • ‘Comment on England’, in Chris Stephens (ed.), Henry Moore, exhibition catalogue, Tate Britain, London 2010, pp.22–39.
  • An Unpublished Note by Duchamp: Hell in Philadelphia’, Tate Papers, no.10, Autumn 2008.
  • The Very Late Style of Hans Hartung’, in Anne Pontégnie (ed.), Hans Hartung: 10 Perspectives, Milan 2006, pp.191–211, republished in Tate Papers, no.9, Spring 2008.
  • Duchamp, Man Ray, Picabia, exhibition catalogue, Tate Modern, London 2008, 247pp. 
  • Surrealism: Desire Unbound, exhibition catalogue, Tate, London 2001, 351pp.

Selected exhibitions and displays

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Last updated October 2014.