Skip navigation

Main menu

  • What's on
  • Art & Artists
    • The Collection
      Artists
      Artworks
      Art by theme
      Media
      Videos
      Podcasts
      Short articles
      Learning
      Schools
      Art Terms
      Tate Research
      Art Making
      Create like an artist
      Kids art activities
      Tate Draw game
  • Visit
  • Shop
Become a Member
  • DISCOVER ART
  • ARTISTS A-Z
  • ARTWORK SEARCH
  • ART BY THEME
  • VIDEOS
  • ART TERMS
  • SCHOOLS
  • TATE KIDS
  • RESEARCH
  • Tate Britain
    Tate Britain Free admission
  • Tate Modern
    Tate Modern Free admission
  • Tate Liverpool + RIBA North
    Tate Liverpool + RIBA North Free admission
  • Tate St Ives
    Tate St Ives Ticket or membership card required
  • FAMILIES
  • ACCESSIBILITY
  • SCHOOLS
  • PRIVATE TOURS
Tate Logo
Become a Member

Collecting and Exhibiting American Art at Tate

The essays in this section explore the significance of three survey exhibitions of American art held at Tate during the post-war years in relation to Tate’s engagement with American art more broadly during the directorships of John Rothenstein and Norman Reid. They examine Tate’s institutional attitudes towards American art, revealing the opportunities and challenges it faced in building a world-class collection of art from the United States, and the transatlantic relations that had an impact on post-war British art and society.

  • Jackson Pollock, Number 23 1948 Tate T00384 © ARS, NY and DACS, London 2019

    American Art under John Rothenstein, 1938–64

    Alex J. Taylor

    As Director of the Tate Gallery, John Rothenstein showed a commitment to transatlantic relations and a distinctly national view of American art that shaped the museum’s early acquisitions of works by American artists. Using archival sources, this essay gives an account of Rothenstein’s collecting strategy and international networks, contextualises the varied selection of American works acquired during his directorship, and reveals the lasting impact of these acquisitions on Tate’s collection far beyond Rothenstein’s tenure.

  • Mark Rothko Black on Maroon 1958 Tate T01031 © Kate Rothko Prizel and Christopher Rothko/DACS 2019

    American Art under Norman Reid, 1964–79

    Pam Meecham and Julie Sheldon

    Norman Reid’s directorship of the Tate Gallery was marked by several high-profile and sometimes controversial acquisitions and exhibitions of American art. This essay draws upon archival sources to provide detailed accounts of these important episodes in Tate’s history – from the purchase of Roy Lichtenstein’s Whaam! in 1966 to the so-called ‘Bricks scandal’ surrounding Carl Andre’s Equivalent VIII ten years later – and considers Reid’s role in balancing the ambitions of his curators, the expectations of trustees and the demands of visitors.

  • The King and Queen examining John Singleton Copley’s painting The Death of Major Peirson, 6 January 1781 1783 at the Tate Gallery, 1946

    American Painting , 1946

    Caroline M. Riley

    Presented at the Tate Gallery in 1946, American Painting: From the Eighteenth Century to the Present Day was the first international touring exhibition organised by the National Gallery of Art in Washington, D.C. It positioned American painting as a form of mutual cultural recovery for the two nations, while also subtly promoting the United States’ growing cultural authority in relation to war-shattered Britain.

  • Jackson Pollock, The She-Wolf 1943, Museum of Modern Art, New York

    Modern Art in the United States , 1956

    Frank Spicer

    The 1956 exhibition Modern Art in the United States introduced visitors to the Tate Gallery to a wide range of modern American paintings, sculptures and prints. But it is chiefly remembered for its presentation of works by abstract expressionist painters like Jackson Pollock and Mark Rothko, largely because of the controversy these works generated in the British press.

  • Catalogue of The New American Painting as Shown in Eight European Countries, 1958–1959, Tate Gallery, London 1959

    The New American Painting , 1959

    Frank Spicer

    Keen to present the latest American painting to British audiences, the Tate Gallery secured a place for itself in the international tour of an impressive grouping of works drawn from the collections of the Museum of Modern Art, New York, and some private owners. The New American Painting as Shown in Eight European Countries, 1958–1959 proved an important bridge between American and European cultures, though several British commentators found abstract expressionist art difficult to interpret, let alone accept.

  • Peggy Guggenheim and guests at the dinner for The Peggy Guggenheim Collection, Tate Gallery, 6 January 1965 Tate Public Records, Photographic Collection List No.11

    A Failed Charm Offensive: Tate and the Peggy Guggenheim Collection

    Andrew Stephenson

    Keen to expand Tate’s holdings of modern international art, the Director Norman Reid tried hard to persuade the American collector and patron Peggy Guggenheim to donate her impressive collection of European and American modern art to the gallery in the early and mid-1960s. Drawing on information gleaned from the gallery’s records and from press cuttings, this essay examines the reasons why the gallery’s charm offensive was ultimately unsuccessful.

  • E.J. Power in his flat at 37 Grosvenor Square, London c.1979

    E.J. Power: A Pioneering Collector of American Art

    Jennifer Mundy

    E.J. (or Ted) Power was the first, and for a period, the only substantial collector of contemporary art in Britain. As the critic John Russell wrote in Private View (1965), there were plenty of people in London who had the money to buy important works of art in the 1950s and 1960s but only Power had the requisite judgement and wilfulness to build a world-class collection. Power bought major examples of British and European art but, as this abridged 1996 essay shows, it was his in-depth engagement with leading young and mid-generation American artists that allowed him to create a collection that was unique in Britain. A generous patron, he loaned his collection to various British venues to encourage greater awareness of contemporary art and in 1968 became a Trustee of the Tate Gallery.

  • ‘Realism Reconsidered’: Ben Shahn in London, 1956

    Julia Tatiana Bailey

    On the occasion of his inclusion in an exhibition of American art at the Tate Gallery in London in 1956, the artist Ben Shahn gave a lecture called ‘Realism Reconsidered’ at the Institute of Contemporary Arts. In it he reviewed how modern art was talked about, focusing particularly on the different ways in which realism was understood. Exploring Shahn’s left-wing political beliefs and the institutional support he received in this period from American official bodies, this essay assesses what this moment reveals about the often overlooked politics of pluralism in Anglo-American cultural exchanges during the mid-1950s.

  • Photograph of the private view of 54–64: Painting and Sculpture of a Decade, 22 April – 28 June 1964, Tate Gallery, London

    An ‘Outcast’ Abroad: Ad Reinhardt in London, 1964

    Moran Sheleg

    When Ad Reinhardt’s first solo exhibition in the UK opened in 1964, the artist chose to present himself as an outcast in relation to the New York School. This essay examines the role this self-marginalisation played in refiguring the identity and character of abstract American art within a British context.

Artwork
Close

Join in

  • Twitter
  • Facebook
  • YouTube
  • Instagram
  • Pinterest
Sign up to emails

Sign up to emails

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Tate’s privacy policy

About

  • About us
  • Our collection
  • Terms and copyright
  • Governance
  • Picture library
  • ARTIST ROOMS
  • Tate Kids

Support

  • Tate Collective
  • Members
  • Patrons
  • Donate
  • Corporate
  • My account
  • Press
  • Jobs
  • Accessibility
  • Privacy
  • Cookies
  • Contact
© The Board of Trustees of the Tate Gallery, 2025
All rights reserved