Dear Henry Tate,
It has taken decades, and the efforts and enthusiasm of many individuals, to make Tate what it is today. In a continuation of this, our new publication Tate Etc. carries your name – with an additional ‘Etc.’. This publication has Tate as its starting point – its exhibitions, the collection, its events and projects – but also extends far beyond the boundaries of the four galleries.
Published three times a year, Tate Etc. will not only include in-depth articles by a wide variety of writers from different professional fields and geographical locations, but will also, like Tate, work as a place for thinking and experiencing art. It has a strong conversational element in the form of interviews and discussions, and gives a voice to artists. Within these articles, we blend the historic, the modern and the contemporary to show that art does not exist in a vacuum, but is rooted in many traditions.
Several elements will work as a series – for instance, the poet Paul Farley’s visits to the Tate archive in Behind the Curtain and MicroTate, where we ask people to write about a detail of a work in the galleries. The ideas behind the features will sometimes flow into future issues. For example, in issue two, there will be a conversation between curator Lynne Cooke and architect Rem Koolhaas – an expansion of our current piece on Art and the Sixties.
When you were striving to set up a national gallery for your collection, you wrote about ‘the pleasure of feeling that justice would be done to British art and gratification bestowed on millions of this and future generations’.
Your wishes became a reality, and now, more than 100 years later, we see Tate Etc. as a natural extension of your founding vision.
Bice Curiger and Simon Grant
In this issue
Flamboyant. Extravagant. Megalomanic. Alcoholic. Sexually obsessed. Manic-depressive. How important is persona in understanding an artist’s practice? By Alison Gingeras
Edward Hopper belongs to a particular category of artist whose work appears sad but does not make us sad…perhaps because they allow us as viewers to witness an echo of our own griefs and disappointments, and thereby to feel less personally persecuted and beset by them. Alain de Botton discusses The pleasures of sadness
Edward Hopper used to compare his paintings with cinematic frames. In turn, his scenes have inspired generations of filmmakers – from Alfred Hitchcock to Todd Haynes – as well as photographers. Photographer Gregory Crewdson seeks out images of America.
Richard Dadd was not only extremely well educated, he was on his way to becoming a full-blooded representative of Victorian painting before killing his father in a fit of psychosis and being subsequently confined to an institution. He painted The Fairy Feller’s Master Stroke for the director of the hospital. Did he perhaps want to present it as proof of his sanity? Sigmar Polke delves into Dadd’s enduring dialogue with the figures he created
To coincide with the Luc Tuymans show at Tate Modern, the first large-scale exhibition of his work in the UK, three artists and a critic debate the poetry, violence and ambiguity in the Belgian painter’s work, whose distinct style has spawned a generation of imitators. By Adrian Searle, Paulina Olowska, Peter Doig and Chris Ofili
The Art of the Garden: Jemima Montagu explores the garden symbol all the way back to Eden, through the ‘close-locked’ ideals of the Renaissance to the humble window-box.
Martin Postle talks to Christoph Becker about artists and the inspiration of their gardens
Following Mike Kelley’s exhibition The Uncanny at Tate Liverpool, the artist and Jeffrey Sconce talk about Freud, the power of hidden memory and techno-shamanism
Michael Bird on notions of how symmetry, the Doppelgänger, duality and mirror images have played a part in the way artists view themselves and the world around them, starting with his first viewing of the Jacobean painting The Cholmondeley Ladies c.1600–10 when he was eleven, and continuing to look at Barnett Newman’s 1948 Onement I, and Frida Kahlo’s 1939 double self-portrait The Two Fridas.
Juergen Teller, Elisabeth Robinson, Lisa Jardine and Martin Kemp reflect on a detail of a work in Tate Britain.
Anne Chu took a chainsaw to her work after a life-changing experience, and the 1996 show that resulted saw her rise to fame. Linda Yablonsky goes to meet her