Tate Etc. issue 18 magazine cover

Editors’ note

We’ve all played this game. Draw an image on a sheet of paper, fold the paper to conceal part of it, and then pass to the next person who adds their own drawing, and so on, after which the result is unravelled. This fun way of creating a little monster, or a weird hybrid body on paper is an example of the perfect collaborative act. The Surrealists took it up as their own, though André Breton was more serious about the Exquisite Corpse, declaring that it provided ‘the most fabulous source of unfindable images’. Here in Tate Etc. you’ll find one such example in Anne Ellegood’s exploration of different approaches to artistic collaboration – we publish for the first time Tate’s recently acquired Exquisite Corpse drawn by André Breton, Nusch Eluard, Valentine Hugo and Paul Eluard in 1930.

While the Surrealists went in for metaphorical displacement, Theo van Doesburg’s extensive and fruitful collaborations with artists, architects and designers, including Kurt Schwitters, László Moholy-Nagy, Piet Mondrian and El Lissitzky, created a truly international exchange of ideas of the early twentieth-century avant-garde, all of which will be explored in Tate Modern’s exhibition

The pleasure of collaboration isn’t necessarily about the end result. In her essay on artists and failure, Lisa Le Feuvre quotes Fischli and Weiss, who when describing their film The Way Things Go 1987 noted: ‘For us, while we were making the piece, it was funnier when we failed…when it worked, that was more about satisfaction.’

For some, a collaborative effort has been about challenging the status quo. As part of Tate archive’s 40th anniversary celebrations, artist and former teacher David Page recounts the student solidarity during the Hornsey College of Art uprising in 1968 – a six-week sit-in that led to intense debate, extended confrontation with the local authorities, questions in Parliament and, rather successfully, a government report.

For others, collaboration can be defined in a more benign, abstract way – and might involve only the artist and the prospective audience. Of course, articulating such an approach can too easily turn into semantics. The French writer André Gide had a much grander, philosophical notion when he wrote: ‘Art is a collaboration between God and the artist, and the less the artist does the better.’

Allan Kaprows happening Fluids photographed by Dennis Hopper in Beverly Hills October 1963

Allan Kaprow’s happening Fluids, photographed by Dennis Hopper in Beverly Hills, October 1963

Courtesy Tony Shafrezi Gallery, New York. Photo: Dennis Hopper

Bice Curiger and Simon Grant

In this issue

Essay

Collaboration
Anne Ellegood

Feature

Henry Moore
Andrew Causey
Afro Modern: Journeys Through the Black Atlantic
Greg Tate

The exhibition at Tate Liverpool, inspired by Paul Gilroy’s influential book about the black diaspora, explores the history of black modernity. Tate Etc. asked a cultural critic to look at the role of wit in this history

Private view: Henri Michaux
Paul Chan
Document: Georges Mathieu
Bernard Marcadé
Theo van Doesburg
Alied Ottevanger

A painter, poet, art critic, typographer, designer and publisher who played a key role in the international exchange of ideas of the early twentieth-century avant-garde, van Doesburg (1883–1931) formed many fruitful alliances with some of the most important artists of the century, including Kurt Schwitters, László Moholy-Nagy, Piet Mondrian and El Lissitzky, many of which will be explored in Tate Modern’s exhibition Van Doesburg and the International Avant-Garde: Constructing a New World

Behind the curtain
Margaret Drabble
Shirin Spencer
Nina Williams
Veronica Gosling
David Page
Louisa Buck

Tate Archive 40th Anniversary Special: highlights from artists’ archives acquired in recent years are selected by family, friends and admirers

Michael Rakowitz
Mark Haddon
Andy Holden
Richard Aldrich

Contemporary artists on a work in the Tate collection

Interview

Arshile Gorky
Cosima Spender
Mougouch Fielding

The influential Armenian-born American painter Arshile Gorky (1904–1948) was described as the last of the great Surrealists, the first of the Abstract Expressionists and one of the most important figures in twentieth-century art. He was, as Willem de Kooning said, an artist with “fantastic instinct”, largely self-taught, who absorbed masters of modern European art, but whose most recurring imagery was based on memories of his childhood. A turning point in his life came in 1941 when he married Agnes Magruder (whom he called “Mougouch” – an Armenian term of endearment), and this relationship was to have an extraordinary effect on his painting. On the eve of Tate Modern’s retrospective exhibition, the artist’s widow tells the story of her life with Gorky to her granddaughter. 

Chris Ofili
Christy Lange
Chris Ofili

Christy Lange talks to Chris Ofili ahead of his exhibition at Tate Britain

Poem

Jean Sprackland

This February Jean Spackland presents her poem The Cholmondeley Ladies based on the painting of the same name attributed to British School 17th century