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Tate Papers

Kenneth Clark and the Death of Painting

Martin Hammer

Martin Hammer reviews Kenneth Clark’s public spat with Herbert Read about modern art, which erupted in successive issues of the ...

In Focus

Performing the Self in Family Jules

Anna Arabindan-Kesson

Tate Research In Focus study on Family Jules: NNN (No Naked Niggahs) 1974 by Barkley L. Hendricks

In Focus

Seeing Salt Flat

John R. Blakinger

John R. Blakinger explores Salt Flat 1968 by Dennis Oppenheim | part of a Tate In Focus study

Tate Papers

Performing Pop: Marta Minujín and the ‘Argentine Image-Makers’

Catherine Spencer

The June 1966 issue of Arts Magazine heralded the Argentine artist Marta Minujín’s arrival on the international art scene as ...

Tate Papers

Painting the Global History of Art: Hale Woodruff’s The Art of the Negro

Christian Kravagna

This paper shows how African American artist Hale Woodruff’s 1950–1 mural cycle The Art of the Negro depicts a transcultural ...

Tate Papers

‘A gallery in the mind’? William Hazlitt, Edmund Spenser and the Old Masters

Luisa Calè

This essay explores the associations made by William Hazlitt between the work of the Elizabethan poet Edmund Spenser and paintings ...

In Focus

The Painting and the Frame

Tate Research In Focus project on Dancers on a Plane 1980–1 by Jasper Johns

Tate Papers

Drawing in the Dark: Involuntary Drawing

Susan Morris

Susan Morris approaches the subject of involuntary drawing from the point of view of an artist trying to make a ...

Tate Papers

‘Behold the Buffoon’: Dada, Nietzsche’s Ecce Homo and the Sublime

Christine Battersby

Parodic humour was integral to Dada, and the influence of Nietzsche on dada is well known. However, the connections between ...

Tate Papers

I’ll Show You Mine, If You Show Me Yours: Collaboration, Consciousness-Raising and Feminist-Influenced Art in the 1970s

Amy Tobin

This paper discusses two feminist-influenced collaborative art projects: London/LA Lab 1981 and Postal Art Event 1975–7. It reflects on how these art projects related ...

Tate Papers

Joseph Pennell and the Anglo-American Construction of New York

Margaret J. Schmitz

American printmaker Joseph Pennell’s iconic New York imagery is the focus of this article, including an exploration of his efforts ...

Essay

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 ...

In Focus

Hatchings: Technique as Motif

Seth McCormick

Tate Research In Focus project on Dancers on a Plane 1980–1 by Jasper Johns

Tate Papers

Francis Bacon: Back to Degas: Rothenstein Lecture 2011

Martin Hammer

Providing the first focused account of Francis Bacon’s artistic dialogue with Edgar Degas, Martin Hammer argues that the French painter ...

Tate Papers

Van Dyck and Tapestry in England

Simon Turner

Van Dyck first came to England in 1620, when the Surrey-based Mortlake Manufactory began making tapestries. Simon Turner considers whether ...

Tate Papers

Zen as a Transnational Current in Post-War Art: The Case of Mira Schendel

Majella Munro

In this paper Majella Munro proposes that Zen can be applied as a transnational intellectual framework for the analysis of ...

In Focus

Iconic Portraits: Revising the Canon

Anna Arabindan-Kesson

Tate Research In Focus study on Family Jules: NNN (No Naked Niggahs) 1974 by Barkley L. Hendricks

Tate Papers

Commitment and Desire in Sharon Hayes’s Ricerche: three 2013

Larne Abse Gogarty

This article examines Sharon Hayes’s video work Ricerche: three 2013 and the way it represents and mediates the often-painful psychic ...

Tate Papers

George Elgar Hicks’s Woman’s Mission and the Apotheosis of the Domestic

Kendall Smaling Wood

Tracing the evolution of the domestic in English cultural discourse over the first half of the nineteenth century, this paper ...

Tate Papers

The Geometry of Syntactics, Semantics and Pragmatics: Anthony Hill’s Concrete Paintings

Sam Gathercole

Between 1952 and 1956, the British artist Anthony Hill made a small number of abstract, concrete paintings before turning away ...