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Tate Papers

Mapping the Field: Lawrence Alloway’s Art Criticism-as-Information

Stephen Moonie

Lawrence Alloway claimed that the art critic should avoid explicit value judgements and instead provide information. This paper historicises Alloway’s …

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Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990

Geeta Kapur

Geeta Kapur: Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937-1990, was first published in When Was Modernism: Essays on Contemporary …

Tate Papers

Some Notes on Words and Things in Cy Twombly’s Sculptural Practice

Kate Nesin

This paper presents an extended close reading of Cy Twombly’s Untitled (Funerary Box for a Lime Green Python), 1954, particularly …

Tate Papers

'Pataphysical Graham': A Consideration of the Pataphysical Dimension of the Artistic Practice of Rodney Graham

Steven Harris

Pataphysical Graham ‘Pataphysical Graham’ investigates the possible use of pataphysical motifs in the work of the contemporary Canadian artist Rodney …

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Curating and Collecting

Lucy Bayley

This is one of four reports produced by researchers in the project Reshaping the Collectible: When Artworks Live in the …

Tate Papers

Milton, Lucy Hutchinson, and the Lucretian Sublime: The Sublime Object

David Norbrook

Lucretius’s De rerum natura is a neglected source for the emergence of the theory and practice of the sublime in …

Tate Papers

Josef Albers, Eva Hesse, and the Imperative of Teaching

Jeffrey Saletnik

This paper examines affinities between the Bauhaus-indebted instructional methods and practices of Josef Albers and the sculpture of Eva Hesse, …

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

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

Kiefer and Beuys: Cathexis and Cartharsis

Hannah Abdullah

Tate In Focus research project exploring Heroic Symbols 1969 by Anselm Kiefer, authored by Christian Weikop

Tate Papers

Liubov Popova: From Painting to Textile Design

Christina Lodder

In 1923 the painter Liubov Popova began creating designs for fabric to be manufactured by the First State Textile Printing …

Tate Papers

The Handsome Pork-Butcher c.1924–6, c.1929–35 by Francis Picabia

Annette King , Joyce H. Townsend and Bronwyn Ormsby

This sardonic collage portrait of Raymond Poincaré, President and Prime Minister of the French Republic, was made with everyday objects …

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

Hatchings: Technique as Motif

Seth McCormick

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

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

‘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 …