Submitting a Contribution

Tate Papers is a peer reviewed, visual arts research journal.

We invite the submission of research articles and practice-based outputs, including artworks and films, relevant to each issue's theme. All forthcoming themes and calls for submissions are posted on the Tate Research home page.

All submissions must be relevant to the edition's theme and demonstrate an original contribution to knowledge of art and its history or to museum practice. Text-based submissions should be no longer than 5,000 words in length, excluding endnotes.

Suitable submissions are reviewed by the editors and will be sent for peer review (see About Tate Papers for editorial policies). We aim to respond to submissions within twelve weeks.

Please send submissions to us by email, including your full name and affiliation, as well as those of any co-authors or contributors.

  • Text should be submitted as a Word (.doc or .docx) document.
  • Images should be submitted as .jpg (or .jpeg) files with a minimum resolution of 72 dpi and 1200 px on the longest side. They should be no larger than 4 MB.
  • Videos should be submitted as .mp4 files at the highest possible resolution. Video files will be hosted on the Tate YouTube account.
  • Sound files should be submitted as WAV files.
  • Images, videos and sound files should be sent as a download link using Dropbox, WeTransfer or Google Drive.

Originality
Authors should only submit original work that has not been published elsewhere and is not under consideration, peer review or accepted for publication elsewhere.

Any previously published material by the author that contains substantially similar content to the work being submitted must be disclosed at the time of submission. Authors should explain in a covering email how the submitted work differs from related content, which should be cited as references and described in the submitted manuscript.

Plagiarism
Authors must appropriately cite and reference the work of others in the submitted manuscript (see ‘Style and Formatting Guide’ below for detailed instructions regarding references).

Authorship
Authors should list all individuals who have made a significant contribution to the submission as co-authors and ensure that they have seen and approved the final version of the contribution and have agreed to its submission for publication.

STYLE AND FORMATTING GUIDE

Please apply these guidelines to text-based submissions as far as possible. These guidelines might not apply to creative pieces of writing.

  • Please submit your article in English, using UK spelling.
  • Texts should be submitted in Times New Roman in size 12. The text should be double-spaced, with line breaks and no tabs. Dashes in sentences appear as a spaced en dash (–) as opposed to a hyphen or em dash.
  • Please use endnotes rather than footnotes. Endnotes should be numbered within the running text using superscript Arabic numerals (see ‘References’).
  • Quotations appear in single quotation marks (‘example’); quotations within a quote appear in double quotation marks.
  • To indicate that material is omitted within a quote, an ellipsis in the form of three dots connecting the two parts of the sentence with spaces on either side should be used, example: ‘quote … second part of the quote’.
  • Italics are used for the titles of whole publications and artworks (including films, plays, albums, series, exhibitions, songs etc.). The dates of whole publications are mentioned after their title, in brackets. The dates of artworks are given after their title, without brackets. Single quotation marks are used for articles and chapters within a publication.

Images, sound or video files should be provided as separate, numbered files with corresponding callouts in the running text, e.g. ‘(fig.1)’.

The preferred placement of the image or video can be indicated by embedding a small thumbnail within the text document. Please provide full captions for images and other embedded media:

Fig.1
Artist
Title Date
Materials and support
Dimensions (in mm x mm)
Collection and location of the work
Copyright and photography credits

Books

  • Kristine Stiles, Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, Berkeley 2012, 2nd edn, p.45.
  • Sylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, Rochester, New York 2008.
  • Ana Longoni and Fernanda Carvajal, Marta Minujín: Minuphone 1967–2010, exhibition catalogue, Fundación Telefónica and Fundación Espigas, Buenos Aires 2010, p.126.
  • Homi Bhabha, The Location of Culture, Abingdon and New York 1994.
  • Elizabeth Einberg and Judy Egerton, The Age of Hogarth: British Painters Born 1675–1709, Tate Gallery Collections, vol.2, London 1988, pp.47–50 no.19, reproduced pp.48, 49 (detail).

Articles

  • Karin Breuer, ‘Fertile Ground: Ed Ruscha’s Great American West’, in Karin Breuer and D.J. Waldie (eds.), Ed Ruscha and the Great American West, exhibition catalogue, San Francisco 2016, p.14.
  • Hyug Baeg Im, ‘The Origins of the Yushin Regime: Machiavelli Unveiled’, in Byung-Kook Kim and Ezra F. Vogel (eds.), The Park Chung Hee Era, Cambridge, Massachusetts 2013, p.234.
  • Victor Burgin, ‘The Separateness of Things, Victor Burgin’, Tate Papers, no.3, Spring 2005, https://www.tate.org.uk/research/tate-papers/03/the-separateness-of-things-victor-burgin, accessed 12 February 2025.
  • Clement Greenberg, ‘Avant-Garde and Kitsch’, in Clement Greenberg, Art and Culture: Critical Essays, Boston 1989, p.5.
  • Cindy Nemser, ‘An Interview with Eva Hesse’, Artforum, vol.8, no.9, May 1970, pp.59–63, https://www.artforum.com/features/an-interview-with-eva-hesse-210575/, accessed 12 February.
  • Hilton Kramer, ‘Barbara Hepworth: Vanguard to Establishment’, New York Times, 13 March 1966, p.27.

Documents, interviews and correspondence

  • Joana Lopes, interview with the author, São Paulo, 20 April 2019.
  • Fred Barzyk, email to the author, 12 June 2019.
  • Pierre Restany, letter to Francisco Matarazzo Sobrinho, 2 August 1968. Cited in Claudio de Melo Filho, ‘Para além do real’, unpublished MA thesis, Universidade Federal de Juiz de Fora, Juiz de Fora 2019, p.88.
  • Howard Klein, letter to Nam June Paik, 23 July 1970, Nam June Paik Archive, Smithsonian American Art Museum, Washington, D.C., box 3, folder 2; Gift of the Nam June Paik Estate.
  • Ben Nicholson, letter to Charles Harrison, 18 December 1967, Tate Archive TGA 839/2/19/19.

Image: John Latham, Ben N 2004 (detail), Tate P79064.

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