Tate Etc

Tate Etc. issue 1: Summer 2004

Tate Etc. issue 1; Summer 2004, cover image

Dear Henry Tate,

It has taken decades, and the efforts and enthusiasm of many individuals, to make Tate what it is today. In a continuation of this, our new publication Tate Etc. carries your name – with an additional ‘Etc.’. This publication has Tate as its starting point – its exhibitions, the collection, its events and projects – but also extends far beyond the boundaries of the four galleries.

Published three times a year, Tate Etc. will not only include in-depth articles by a wide variety of writers from different professional fields and geographical locations, but will also, like Tate, work as a place for thinking and experiencing art. It has a strong conversational element in the form of interviews and discussions, and gives a voice to artists. Within these articles, we blend the historic, the modern and the contemporary to show that art does not exist in a vacuum, but is rooted in many traditions.

Several elements will work as a series – for instance, the poet Paul Farley’s visits to the Tate archive in Behind the Curtain and MicroTate, where we ask people to write about a detail of a work in the galleries. The ideas behind the features will sometimes flow into future issues. For example, in issue two, there will be a conversation between curator Lynne Cooke and architect Rem Koolhaas – an expansion of our current piece on Art and the Sixties.

When you were striving to set up a national gallery for your collection, you wrote about ‘the pleasure of feeling that justice would be done to British art and gratification bestowed on millions of this and future generations’.

Your wishes became a reality, and now, more than 100 years later, we see Tate Etc. as a natural extension of your founding vision.

Bice Curiger and Simon Grant

Henry Tate holding a model of Tate Gallery Pall Mall Gazette 21 July 1897.

Henry Tate holding a model of Tate Gallery, Pall Mall Gazette, 21 July 1897
© Tate archive

Contents

  • Lives of the artists

    Alison M. Gingeras

    Flamboyant. Extravagant. Megalomanic. Alcoholic. Sexually obsessed. Manic-depressive. How important is persona in understanding an artist’s practice? By Alison Gingeras

  • The pleasures of sadness: Edward Hopper

    Alain de Botton

    Edward Hopper belongs to a particular category of artist whose work appears sad but does not make us sad…perhaps ...

  • Aesthetics of alienation: Edward Hopper II

    Gregory Crewdson

    Edward Hopper used to compare his paintings with cinematic frames. In turn, his scenes have inspired generations of filmmakers – from ...

  • Private view: Richard Dadd

    Sigmar Polke

    Richard Dadd was not only extremely well educated, he was on his way to becoming a full-blooded representative of Victorian ...

  • He is poetic, but...: Luc Tuymans

    Adrian Searle , Paulina Olowska , Peter Doig and Chris Ofili

    To coincide with the Luc Tuymans show at Tate Modern, the first large-scale exhibition of his work in the UK ...

  • Earthly delights: The art of the garden

    Jemima Montagu

    The Art of the Garden: Jemima Montagu explores the garden symbol all the way back to Eden, through the ‘close-locked ...

  • Cultivated minds: The art of the garden

    Martin Postle and Christoph Becker

    Martin Postle talks to Christoph Becker about artists and the inspiration of their gardens

  • I've got this strange feeling...: The uncanny

    Mike Kelley and Jeffrey Sconce

    Following Mike Kelley’s exhibition The Uncanny at Tate Liverpool, the artist and Jeffrey Sconce talk about Freud, the power ...

  • The perception of symmetry

    Michael Bird

    Michael Bird on notions of how symmetry, the Doppelgänger, duality and mirror images have played a part in the way ...

  • MicroTate 1

    Juergen Teller , Elisabeth Robinson , Lisa Jardine and Martin Kemp

    Juergen Teller, Elisabeth Robinson, Lisa Jardine and Martin Kemp reflect on a detail of a work in Tate Britain.

  • A cut above the rest: Anne Chu

    Linda Yablonsky

    Anne Chu took a chainsaw to her work after a life-changing experience, and the 1996 show that resulted saw her ...

  • Behind the curtain

    Paul Farley

    Behind the curtain; Paul Farley in the Tate Archive; Tate Etc. magazine issue 1