The Tate Research Centre: Learning exists to promote research and knowledge exchange and to inform practice in the field of learning in galleries. The Centre also seeks to provide a dynamic forum for the development and dissemination of ideas and research findings and to prompt fresh thinking. The Centre is co-created, conversational, speculative and propositional. It sees value in openness and risk and has creative practices at its centre.
In line with these aspirations and in order to reflect the nature and diversity of gallery education and learning practice and research, the Tate Research Centre: Learning welcomes ideas and proposals for new projects and events. The Centre also invites submissions for publication to Working Papers. Submissions can include articles presenting ideas in the earlier stages of development and/or provisional research findings; conference papers, provocations and thought pieces intended to stimulate feedback and further debate. Content can include texts between 2,000 – 5,000 words.
Guidelines for contributors
The Tate Research Centre: Learning welcomes contributions to Working Papers, particularly those that address current concerns within the field of gallery learning, offer insights into the historic development of education and learning activity in galleries, analyse and exemplify particular practice, provide a range of theoretical approaches and stimulate debate around future developments.
Contributors should note that Tate Research Centre: Learning is committed to being open, dynamic and collaborative and seeks to encourage a diverse range of contributions. At the same time the Centre recognises the importance of maintaining high standards with regard to publications. Submissions are not formally peer reviewed, but are subject to assessment by an internal panel of reviewers and the Convenor of the Tate Research Centre: Learning (as Editor of the Tate Research Centre: Learning Working Papers) has the right to make final decisions on all submissions to Tate Research Centre: Learning Working Papers. Please note, however, that the opinions expressed in these Working Papers are not endorsed necessarily by the internal panel, the Editor of the Tate Research Centre: Learning Working Papers or the Board of Trustees of the Tate Gallery.
Those wishing to submit more extended scholarly articles relating to Tate’s varied activities as a museum are also advised to consider Tate Papers, Tate’s online peer reviewed journal.
Submissions to the Tate Research Centre: Learning Working Papers should be sent to Helena Hunter, Learning Research Assistant (email@example.com). Deadlines for the submission of material are set quarterly (31 March, 30 June, 30 September and 31 December).
Submissions for Working Papers should normally be between 2,000 and 5,000 words. Please include the following details:
- Author’s name
- Notes (endnotes, not footnotes)
- Acknowledgements (including acknowledgement of where the paper has been presented or published elsewhere)
- Author’s role or profession
- Copyright line (e.g. Tate Working Papers 2014 © Stephen Daniels)
- Captions (see style guidelines below)
Please note that articles are considered on the understanding that they are original and that any related material submitted or in press elsewhere is disclosed on submission.
The Tate Research Centre: Learning will republish material first printed elsewhere if it relates well to the overall purposes of the Centre and providing the necessary permissions are obtained.
We would appreciate if authors ensured that their written texts conform to house style on submission, using the style guidelines below where appropriate. Please note that responsibility for initial proofing rests with the author(s); texts should only be submitted after careful reading for errors and typos.
Titles and subheadings
Follow the normal rules of capitalisation for the main title but for subheadings give initial letters only to the first word.
Do not indent paragraphs, but do indent long quotations (over sixty words).
Use single quotations marks throughout, and double quotation marks only for quotations within quotations. Do not use quotation marks for indented quotations. Breaks in a quotation should be signalled by an ellipsis (three points) with a space before and after. Do not use an ellipsis at the beginning or end of a quotation. Quotations should have an endnote giving the source, though several quotations can be grouped under a single reference.
At the end of sentences full points should be followed by only one space, not two. Note the omission of a space in the following examples: p.21, no.2, vol.2, c.1820, fig.1. Do not use full points with contractions and acronyms (for example, MoMA, St, Dr, UK). Do not employ apostrophes with 1870s, 1920s etc. For clarity please use, for example, 1920s rather than twenties or 20s.
British English should be used throughout. Use -ise rather than -ize endings; focused rather than focussed.
Non-English words and phrases in common usage should be in ordinary type: only italicise words that are not common or those in an inaccessible language. The term c. (circa) does not need to be italicised, and should not be followed by a space, e.g. c.1880.
Dates and numbers
Follow these patterns: 25 October 1881; in the nineteenth century (not 19th C). Please note the use of a hyphen in such adjectival phrases as ‘twentieth-century art’. Note all numbers up to 100 should be written in words, not figures, unless they are measurements.
En dashes (not hyphens) should be used as dashes in sentences and in date and page ranges. Thus, 1932–5, pp.435–59. On PCs it is usually possible to use the following shortcut: hold down the control key and press the minus key located on the numeric keyboard. With Macs, hold down the Apple key and press hyphen.
Please use endnotes only (not footnotes, bibliographies or lists of works cited). Endnote numbers in the text should follow punctuation marks (comma, full stop, quotation mark) and should be Arabic (1, 2, 3) and not Roman (i, ii, iii,). They should be superscript figures, which link electronically to the endnote, not static figures. Follow these models for references:
Michael Eraut, Developing Professional Knowledge and Competence, London 1994, p.44.
Veronica Sekules, ‘The Celebrity Performer and the Creative Facilitator: The Artist, the School and the Art Museum’, in M. Xanthoudaki, L. Tickle and Veronica Sekules (eds.), Researching Visual Arts Education in Museums and Galleries, London 2003, p.146.
Roy Prentice, ‘The Place of Practical Knowledge in Research in Art and Design Education’, Teaching in Higher Education, vol.5, no.4, 2000, p.523.
Note: titles of articles, even if very long, need to have initial capitals.
Anna Cutler, Who will sing the song? Learning beyond Institutional Critique. Tate Papers, Issue 19, Spring 2013, www.tate.org.uk/research/tateresearch/tate-papers/who-will-sing-the-song-learning-beyond-institutional-critique, accessed October 12th 2013.
Unpublished texts or documents
Emily Pringle, ‘The Artist as Educator: An Examination of the Relationship between Artistic Practice and Pedagogy within Contemporary Gallery Education’, unpublished Ph.D. dissertation, Institute of Education, University of London 2008, p.81.
Please note: titles of articles or essays in volumes or journals follow the normal rules of capitalisation for titles, even if the titles are long.
For references to previously cited material, use Ibid. for a reference to the source given in the preceding footnote. However, avoid other Latin terms such as op. cit, loc. cit. To refer to a source mentioned other than in the immediately preceding reference, give the author’s last name and date (e.g. Prentice 2000) or, where this avoids ambiguity, author’s last name, shortened version of title and date (e.g. Prentice, ‘The Place of Practical Knowledge in Research in Art and Design Education’ 2000).
Captions should follow these models, which provide different types of information, as appropriate:
Participants working with an artist during a community education session at Tate Modern
Photograph: © David Lewis
Umland: Audible in the Mouth 1998
© Doris Salcedo
Early Mutation Green No.2 1960
Oil paint on canvas
1835 x 2134 mm
Presented by E.J. Power through the Friends of the Tate Gallery 1962
© Bernard Cohen
Fraternity students in documenta 2 1959
© ADAGP, Paris and DACS, London 2009
Photograph © Hans Haacke
Body Tracks (Rastros Corporales) 1982
Photograph taken during a performance at Franklin Furnace, New York City
Courtesy Galerie Lelong, New York
© Estate of Ana Mendieta Collection
In the text illustrations should be referred to thus, without a capital letter or space: (fig.1).
Obtaining image files
Authors should send images in JPEG or PNG format (2 Mb constitutes a reasonable size). Authors should also supply full written details of the sources of the images supplied. Please note it is the responsibility of the author to obtain digital images from correct sources (for example, museums, libraries). Images should not be photographed from books, or taken from the internet unless under a creative commons licence or similar. We will provide images of artworks in Tate’s collection.
For works not in Tate’s collection, please note that a range of copyrights may apply:
- the artist, or his/her heirs for up to seventy years after the artist’s death
- the owner of the work while the work remains in copyright
- the photographer of the image.
Please note that the information, text and images included in Tate Research Centre: Learning Working Papers are protected by the Copyright Designs and Patents Act 1988, as amended in 2003 (see Tate’s approach to copyright). With the exception of fair dealing for the purpose of research or private study, criticism or review, where the appropriate acknowledgement must be given, no part of the contents of the contents may be reproduced, stored or transmitted in any form or by any means without the prior permission in writing from the copyright holder.
Copyright of articles written by Tate staff in work time is vested in Tate, but this is typically waived if authors wish to publish the material elsewhere. External authors retain copyright of their work. In both cases, authors are free to republish the material elsewhere providing acknowledgement that the article was first published in Working Papers is made.
Please note that authors including images of children, artists and teachers and their work are responsible for seeking permission from all concerned to do so. Any artwork should be attributed accurately, and this should be clear in the captions.
We actively encourage comments from readers relating to the content of all publications. Please email Helena Hunter (firstname.lastname@example.org).