In Focus projects examine artworks in Tate’s collection from a range of perspectives, reflecting contemporary approaches to object-based scholarship. They are typically written by a number of specialists from different disciplines and comprise linked essays that explore particular aspects of the works’ making and history in depth. The projects often draw on Tate’s own research resources, featuring materials found in conservation files, Gallery Records and Tate Archive.
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Psychoanalytic ideas, ethnographic display and the artist’s free associations between physical remains, personal memories and historical events shape this in-depth new study of Susan Hiller’s From the Freud Museum.
New research into Constable’s brooding, dramatic and compositionally complex Salisbury Cathedral from the Meadows offers an expanded context – political, religious, artistic and scientific – in which the painting may be understood.
This In Focus presents the first sustained analysis of this enigmatic painting – now regarded as a key work in Bell’s oeuvre and in the histories of British and European modernism.
Offering a multi-disciplinary discussion of Gainsborough’s early triple portrait, this project considers the painting as a depiction of polite and refined society, as a reflection of the growing wealth of a global mercantile elite, and as a ‘painting within a painting’ by an artist as renowned for his landscapes as he was his portraiture.
Examining Allan Sekula’s ‘anti-journalistic’ manifesto Waiting for Tear Gas in a new light, this In Focus considers the work as a radical form of portraiture and of street photography, a critique of the journalistic photo-essay and a profound anti-capitalist statement.
Using contemporary reviews of this major work, the artist’s own papers and a visit to the original site, this In Focus asks: is this a religious painting, a religious painting in disguise, or a painting about religious doubt?
Through analysis of source material, the artist’s creative process and new archival resources, this In Focus investigates new interpretations for this pivotal painting’s reception in Paris at a time of artistic and political turbulence.
Tate’s first ever acquisition of a work by a contemporary American artist, Orthodox Boys is charged with the anxieties and aspirations of Jews in post-war New York. Its graffitied wall offers a constellation of names from the artist’s own life, examined here in depth for the first time.
Tracing the early evolution of Black Wall, this In Focus reveals Nevelson as a collector and scavenger on the streets of New York, and features a newly digitised interview with the artist by critic David Sylvester.
Offering new information on techniques and materials as well as contemporary accounts of the reception of the work, this In Focus explores this unfolding Norfolk landscape, seeking greater understanding of the artist’s motivations, the painting’s title and its likely date of execution.
The most detailed investigation of this photographic series to date, this In Focus explores the ongoing use of the prints in Kiefer’s work and positions Heroic Symbols in the wider cultural and political context of post-war Germany.
An early sketchbook owned by Tate, analysed here for the first time, informs this thorough investigation of Rothenstein’s early development, focusing on a painting long considered the artist’s most important work.
This In Focus situates Smith’s film historically, analyses its intersections with film and visual theory, and explores the changing conditions of its exhibition and reception.
Exploring how On Three Posters advances the intellectual and creative production of the performance upon which it was founded, this In Focus also examines the significance of the work in relation to the image politics of the Lebanese Left.
Drawing on material in the Tate Archive and early twentieth-century sports periodicals, and using previously unexamined material about Gaudier-Brzeska’s interest in wrestling, this project sheds new light on the sculpture and its cast.
This In Focus discusses the creation and reception of these two sculptures in the context of the Victorian enthusiasm for ancient Egypt, providing the first translations of some of the hieroglyphs found on their decorative bases.