Tate Papers Issue 18, Autumn 2012
- Index, Diagram, Graphic Trace by Margaret Iversen
- Lightning and Rain: Phenomenology, Psychoanalysis and Matisse’s Hand by Ed Krčma
- Becoming Machine: Surrealist Automatism and Some Contemporary Instances by David Lomas
- Wavelength: On Drawing and Sound in the Work of Trisha Donnelly by Anna Lovatt
- Drawing in the Dark by Susan Morris
- Van Dyck and France under the Ancien Régime 1641–1793 by Guillaume Faroult
- Sugar, Salt and Curdled Milk: Millais and the Synthetic Subject by Carol Jacobi
- Production in View: Allan Sekula’s Fish Story and the Thawing of Postmodernism by Bill Roberts
Tate Papers Issue 17, Spring 2012
- To the Ends of the Earth: Art and Environment by Nicholas Alfrey, Stephen Daniels and Joy Sleeman
- Ten Miles on Exmoor by Nicholas Alfrey
- To Dispel a Great Malady: Robinson in Ruins, the Future of Landscape and the Moving Image by Stephen Daniels, Patrick Keiller, Doreen Massey and Patrick Wright
- Ruins of the Future by Brian Dillon
- The Military-Pastoral Complex: Contemporary Representations of Militarism in the Landscape by Matthew Flintham
- Layered Land: Andy Goldsworthy at Yorkshire Sculpture Park by Helen Pheby
- Re-enacting Art and Travel by Geoff Quilley
- Waste to Monument: John Latham’s Niddrie Woman by Craig Richardson
- Atomic Tourism and False Memories: Cai Guo-Qiang’s The Century with Mushroom Clouds by Ben Tufnell
- The Roman Campagna Revisited by Richard Wrigley
- Francis Bacon: Back to Degas by Martin Hammer
- Van Dyck and Tapestry in England by Simon Turner
Tate Papers Issue 16, Autumn 2011
- Art World, Network and Other Alloway Keywords by Courtney J. Martin
- Mapping the Field: Lawrence Alloway’s Art Criticism-as-Information by Stephen Moonie
- Living in the Long Front by Julian Myers
- Lawrence Alloway’s Spatial Utopia: Contemporary Photography as ‘Horizontal Description’ by Shelley Rice
- Regular Novelties: Lawrence Alloway’s Film Criticism by Peter Stanfield
- Parallel Systems: Lawrence Alloway and Eduardo Paolozzi by Eric M. Stryker
- ARTIST ROOMS: Young People and Learning 2009–10 by Christopher Ganley
Tate Papers Issue 15, Spring 2011
- David Musgrave: Faulty Images by Kate Macfarlane
- Art of Interaction: A Theoretical Examination of Carsten Höller’s Test Site by Mark Windsor
- Scale in Sculpture: The Sixties and Henry Moore by Anne Wagner
- Guided Freedom: Aesthetics, Tutelage, and the Interpretation of Art by Tony Bennett
- What if Art Desires to be Interpreted? Remodelling Interpretation after the ‘Encounter-Event’ by Griselda Pollock
- ‘Palpable and Mute as a Globed Fruit’ by Donald Preziosi
- Tate Social Media Communication Strategy 2011–12 by Jesse Ringham
Tate Papers Issue 14, Autumn 2010
- Naum Gabo as a Soviet Émigré in Berlin by Christina Lodder
- Liubov Popova: From Painting to Textile Design by Christina Lodder
- Richard Hamilton’s The annunciation by Fanny Singer
- William Blake’s 1809 Exhibition by David Blayney Brown and Martin Myrone
- An Alternative National Gallery: Blake’s 1809 Exhibition and the Attack on Evangelical Culture by Susan Matthews
- Lost in the Crowd: Blake and London in 1809 by Philippa Simpson
- Reasoned Exhibitions: Blake in 1809 and Reynolds in 1813 by Konstantinos Stefanis
- Surviving Reality: Lee Bontecou’s Worldscapes by Jo Applin
- Cinematic Drawing in a Digital Age by Ed Krčma
- Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium by Anna Lovatt
- Dust and Doubt: The Deserts and Galaxies of Vija Celmins by Stephanie Straine
- Merzzeichnung: Typology and Typography by Michael White
- ‘Suffer a Sea-Change’: Turner, Painting, Drowning by Sarah Monks
- Listening for the Sublime: Aural-Visual Improvisations in Nineteenth-Century Musical Art by Charlotte Purkis
- ‘Waste Dominion’, ‘White Warfare’, and Antarctic Modernism by Mark Rawlinson
- Video Games and the Technological Sublime by Eugénie Shinkle
- Damien Hirst’s Shark: Nature, Capitalism and the Sublime by Luke White
Tate Papers Issue 13, Spring 2010
- What Is To Be Done, Sandra? Learning in Cultural Institutions of the Twenty-First Century by Anna Cutler
- ‘Behold the Buffoon’: Dada, Nietzsche’s Ecce Homo and the Sublime by Christine Battersby
- The Arctic Fantasies of Edwin Landseer and Briton Riviere: Polar Bears, Wilderness and Notions of the Sublime by Diana Donald
- The Seventeenth-Century Sublime: Boileau and Poussin by Emma Gilby
- The Sublime Plurality of Worlds: Lucretius in the Eighteenth Century by Anne Janowitz
- Psychosis and the Sublime in American Art: Rothko and Smithson by Timothy D. Martin
- Milton, Lucy Hutchinson, and the Lucretian Sublime by David Norbrook
- Wild Geese Over the Mountains: Melodrama and the Sublime in the English Imaginary 1933–9 by Ian Patterson
- Stubbs, Walpole and Burke: Convulsive Imitation and ‘Truth Extorted’ by Aris Sarafianos
- The Psychiatric Sublime by Nicholas Tromans
- Tate Online Strategy 2010–12 by John Stack
Tate Papers Issue 12, Autumn 2009
- Landmark Exhibitions Issue: Introduction by Marko Daniel and Antony Hudek
- Two Exhibition-Related Films by Jef Cornelis by Koen Brams
- Elasticity of Exhibition by Guy Brett
- To Be Continued: Periodic Exhibitions (documenta, For Example) by Walter Grasskamp
- ‘Remembering Exhibitions’: From Point to Line to Web by Reesa Greenberg
- Lessons Learned by Hans Haacke
- Les Immatériaux Revisited: Innovation in Innovations by Nathalie Heinich
- From Over- to Sub-Exposure: The Anamnesis of Les Immatériaux by Antony Hudek
- Curating by Numbers by Lucy R. Lippard
- Unconcealment by Lynda Morris
- Les Immatériaux or How to Construct the History of Exhibitions by John Rajchman
- Biennials Without Borders? by Chin-Tao Wu
- The Other Story and the Past Imperfect by Jean Fisher
- Aleksandr Rodchenko’s Lines of Force by Brandon Taylor
- The Grid as a Checkpoint of Modernity by Margarita Tupitsyn
- Are Images Global? by Nada Shabout
- Reading (and Curating) from Right to Left by Gilane Tawadros
- On the Politics of Art and Space in Beirut by Kaelen Wilson-Goldie
Tate Papers Issue 11, Spring 2009
- Border Crossing by Felicity Allen
- A Technical Study of Picasso’s Construction Still Life 1914 by Jackie Heuman
- The Artist as Educator: Examining Relationships between Art Practice and Pedagogy in the Gallery Context by Emily Pringle
- Experiments in Integrated Programming by Sally Tallant
- The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta by Joanna S. Walker
- Turner Prize 2008 Reading Room Report by Ashlee Honeybourne
- Tools to Understand: An Evaluation of the Interpretation Material used in Tate Modern’s Rothko Exhibition by Minnie Scott and Renate Meijer
Tate Papers Issue 10, Autumn 2008
- Andrei Tarkovsky and Contemporary Art: Medium and Mediation by Robert Bird
- Time-Lines: Rilke and Twombly on the Nile by Mary Jacobus
- An Unpublished Drawing by Duchamp: Hell in Philadelphia by Jennifer Mundy
- Some Notes on Words and Things in Cy Twombly’s Sculptural Practice by Kate Nesin
- Cy Twombly’s Humanist Upbringing by Carol A. Nigro
- On the Evolution of a Peer-led Programmme: Tate Forum by Rebecca Sinker
- The History and Manufacture of Lithol Red, a Pigment Used by Mark Rothko in his Seagram and Harvard Murals of the 1950s and 1960s by Harriet A. L. Standeven
- Advocating to Stakeholders by Andrea Nixon
Tate Papers Issue 9, Spring 2008
- Perspectives: Negotiating the Archive by Sue Breakell
- Alfredo Jaar and the Post-Traumatic Gaze by Olivier Chow
- Sir Edward Manton’s Glebe: Completing the Provenance of Constable’s Glebe Farm Sketch c.1830 by Douglas Congdon-Martin
- Art in the Archives: An Artist’s Residency in the Archives of the London School of Economics by Sue Donnelly
- Tangentially: The Archive and the Bathroom by Lucy Gunning, Jo Melvin and Victoria Worsley
- The Legacy of Interaction: Artists at the Imperial War Museum 1981–2007 by Catherine Moriarty and Angela Weight
- The Very Late Style of Hans Hartung by Jennifer Mundy
Tate Papers Issue 8, Autumn 2007
- The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication by Sebastiano Barassi
- Thoughts on Replication and the Work of Eva Hesse by Michelle Barger
- Nothing but the Real Thing: Considerations on Copies, Remakes and Replicas in Modern Art by Lydia Beerkens
- Replicas and Reconstructions in Twentieth-Century Art by Christiane Berndes
- Hélio Oiticica by Guy Brett
- Richard Serra: A Case Study by Lynne Cooke
- Thoughts on Thoughts on Replication by Harry Cooper
- Replication: Then and Now by Penelope Curtis
- Blurring the Boundaries between Art and Life (in the Museum?) by Anna Dezeuze
- Amazement and Uneasiness: Early Thoughts by Matthew Gale
- Anthony McCall’s Line Describing a Cone by Mark Godfrey and Anthony McCall
- The Rules of the Game by Walter Grasskamp
- Degradation of Naum Gabo’s Plastic Sculpture: The Catalyst for the Workshop by Stephen Hackney
- Tate Sculpture Replica Project by Jackie Heuman and Lyndsey Morgan
- Resistance to Replication by Margaret Iversen
- The Passing Away of Art by Ulrich Lang
- Replication and Decay in Damien Hirst’s Natural History by Petra Lange-Berndt
- The Model of Vladimir Tatlin’s Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge by Nathalie Leleu
- Replicas of László Moholy-Nagy’s Light Prop: Busch-Reisinger Museum and Harvard University Art Museums by Henry Lie
- Naum Gabo and the Quandaries of the Replica by Christina Lodder
- Posthumous Legal and Ethical Issues by Henry Lydiate
- Authority and Ethics by Carol Mancusi-Ungaro
- Gabo Cataloguing Project at the Tate Archive by Anna McNally
- Why/Why Not Replicate? by Jennifer Mundy
- Kurt Schwitters: Reconstructions of the Merzbau by Karin Orchard
- Reconstructing the Forgotten: An Exhibition of 1970s and 1980s Video Installations, Re-staged with Authentic Technology by Joanna Phillips
- The Enduringly Ephemeral by Alex Potts
- Carl Andre by Alistair Rider
- Should We Reproduce the Beauty of Decay? A Museumsleben in the work of Dieter Roth by Heide Skowranek
- Inherent Vice by Julian Stallabrass
- Replication: Some Thoughts, Some Works by Simon Starling
- Inherent Vice or Vice Versa by Sturtevant
- Je travaille sur la présence by Didier Vermeiren
- Replicas of Constructions by Naum Gabo: A Statement by the Copyright Holders by Nina Williams and Graham Williams
- Replication of Sculpture / Works of Art: Legal Guidelines by Tate Legal and Copyright Department
- Digitisation and Conservation: Overview of Copyright and Moral Rights in UK Law by Tate Legal and Copyright Department
- Terminology for Further Expansion
- Selected Bibliography
- Participant Biographies
- Afterthoughts: Introduction by Matthew Gale
Tate Papers Issue 7, Spring 2007
- Towards Anarchitecture: Gordon Matta-Clark and Le Corbusier by James Attlee
- Historically Accurate Reconstructions of Artists’ Oil Painting Materials by Leslie Carlyle and Maartjee Witlox
- A Dramatic Reading of Augustus Leopold Egg’s Untitled Triptych by Annabel Rutherford
- Josef Albers, Eva Hesse, and the Imperative of Teaching by Jeffrey Saletnik
Tate Papers Issue 6, Autumn 2006
- Lines of Sight: Alfred Watkins, Photography and Topography in Early Twentieth-Century Britain by Stephen Daniels;
- ‘Pataphysical Graham’: A Consideration of the Pataphysical Dimension of the Artistic Practice of Rodney Graham by Steven Harris
- Edward Hopper and British Artists by David Fraser Jenkins
- Authenticity, Change and Loss in the Conservation of Time-Based Media Installations by Pip Laurenson
- The Effects of Surface Cleaning on Acrylic Emulsion Paintings: A Preliminary Investigation by Bronwyn Ormsby, Tom Learner, Michael Schilling, Jim Druzik, Herant Khanjian, Dave Carson, Gary Foster and Mike Sloan
- Between Text and Image in Kandinsky’s Oeuvre: A Consideration of the Album Sounds by Christopher Short
- Kandinsky and Contemporary Painting by Brandon Taylor
Tate Papers Issue 5, Spring 2006
- Constable’s Sketch for Hadleigh Castle: A Technical Examination by Natasha Duff
- A Lively Parrot: Frances Hodgkins’s Wings Over Water by Joyce Townsend and Sarah Hillary
- Military Avoidance: Marcel Duchamp and the ‘Jura-Paris Road’ by Kieran Lyons
- ‘Poor abraded butterflies of the stage’: Sickert and the Brighton Pierrots by Nicola Moorby
- All Systems Go: Recovering Jack Burnham’s ‘Systems Aesthetics’ by Luke Skrebowski
Tate Papers Issue 4, Autumn 2005
- Beuys is Dead: Long Live Beuys! Characterising Volition, Longevity, and Decision-Making in the Work of Joseph Beuys by Rachel Barker and Alison Bracker
- Emila Medková: The Magic of Despair by Krzysztof Fijałkowski
- Jolt, Catalyst, Spark! Encounters with Artworks in the Schools Programme at Tate Modern by Michèle Fuirer
- Thomas Gainsborough’s ‘Lost’ Portrait of Auguste Vestris by Martin Postle
- The ‘Comic Sublime’ : Eileen Agar at Ploumanac’h by Ian Walker
Tate Papers Issue 3, Spring 2005
- The Separateness of Things by Victor Burgin
- Uncovering Professionalism in the Art Museum: An Exploration of Key Characteristics of the Working Lives of Education Curators at Tate Modern by Helen Charman
- Glazing Over: A Review of Glazing Options for Works of Art on Paper by Rosie Freemantle
- The Management of Display Equipment in Time-based Media Installations by Pip Laurenson
- Thomas Guest and Paul Nash in Wiltshire: Two Episodes in the Artistic Approach to British Antiquity by Sam Smiles
- From the Green Box to Typo/Topography: Duchamp and Hamilton’s Dialogue in Print by Paul Thirkell
Tate Papers Issue 2, Autumn 2004
- Contemporary Art and the Role of Interpretation by Helen Charman and Michaela Ross
- New Media Art and the Gallery in the Digital Age by Charlie Gere
- Paintings on Canvas: Lining and Alternatives by Stephen Hackney
- ‘The Veriest Poem of Art in Nature’: E. A. Hornel’s Japanese Garden in the Scottish Borders by Ysanne Holt
- Conservation Concerns for Acrylic Emulsion Paints: A Literature Review by Elizabeth Jablonski, Tom Learner, James Hayes and Mark Golden
- Awkward Relations by Neil Mulholland
- Judd through Oldenburg by Richard Shiff
- The Materials Used by British Oil Painters in the Nineteenth Century by Joyce Townsend
- Kenneth Armitage’s Pandarus (version 8) by Toby Treves
Tate Papers Issue 1, Spring 2004
- On Painting by Michael Baldwin, Charles Harrison and Mel Ramsden
- Unland: The Place of Testimony by Tanya Barson
- Sir Anthony Van Dyck’s Portraits of Sir William and Lady Killigrew, 1638 by Karen Hearn
- Developing Strategies for the Conservation of Installations Incorporating Time-Based Media: Gary Hill’s Between Cinema and a Hard Place by Pip Laurenson
- An ‘overflowing, a richness & poetry’: Joseph Cornell’s Planet Set and Giuditta Pasta by Jennifer Mundy
- Gothic Romance and the Quixotic Hero: A Pageant for Henry Fuseli in 1783 by Martin Myrone
- ‘Are We as a Society Going to Carry on Treating People This Way?’ Michael Landy’s Scrapheap Services by Sean Rainbird
- The Photographic Comportment of Bernd and Hilla Becher by Blake Stimson