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This is a past display. Go to current displays
a painting on canvas with a brown dog on the left hand side, a skull on its side and a heart at the top right corner with a sword through it

Leon Golub and Nancy Spero

Sharing a living and working studio for over thirty years, the artistic dialogue of these two artists produced extraordinary bodies of politically-engaged art

Leon Golub (1922–2004) and Nancy Spero (1926–2009) each made art exploring the dark sides of human relationships, especially political power, violence, and oppression. They met in 1949 while at art school in Chicago, married, and lived in Europe for several years before settling in New York City in 1964. Their loft studio in the city became a site for working – often late through the night – and a community hub, where artists met for political discussion and activism.

Golub produced monumental paintings on unstretched canvases. They usually depict soldiers, vigilantes, and scenes of conflict and torture. Later he made darkly humorous works on paper about sex, desire and death. Spero abandoned painting in the 1960s and became known for paper scrolls covered with cut-out female figures displaying narratives of women’s history. Her work often includes fragments of poetry, literature and philosophy, addressing women’s subjugation and resistance.

Both artists used images of monsters and mythology as emblems of human urges and tensions in society. Works in this room feature wild dogs, goddesses and other allegorical figures. All of the works and materials on view are from the collection of Jon Bird, a London-based artist, writer and curator who worked closely with both artists since the 1980s, producing exhibitions and books. The items on view offer a personal glimpse into each of the artist’s practices and their personalities. They are a testament to the relationships that support artists’ creativity and political engagement.

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Tate Modern
Natalie Bell Building Level 2 West

Getting Here

2 May 2022 – 6 November 2023

Free

Josef Koudelka, Spain  1975

1/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Ireland  1970

Josef Koudelka’s first photography series, Gypsies, captures the daily lives of Roma communities in Bohemia, Moravia and Slovakia (then Czechoslovakia), as well as Hungary, France, Romania and Spain. The series documents a period of post-war upheaval when Roma people were undergoing forced integration and persecution across Europe. Using a 25mm wide-angle lens, Koudelka was able to immerse himself in intimate settings and small spaces. Known as ‘Ikonar’ (maker of icons) by some of the communities he worked with, he captured Roma traditions, struggles and resilience in striking compositions.

Gallery label, March 2025

2/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Slovakia, Zehra  1967

Josef Koudelka’s first photography series, Gypsies, captures the daily lives of Roma communities in Bohemia, Moravia and Slovakia (then Czechoslovakia), as well as Hungary, France, Romania and Spain. The series documents a period of post-war upheaval when Roma people were undergoing forced integration and persecution across Europe. Using a 25mm wide-angle lens, Koudelka was able to immerse himself in intimate settings and small spaces. Known as ‘Ikonar’ (maker of icons) by some of the communities he worked with, he captured Roma traditions, struggles and resilience in striking compositions.

Gallery label, March 2025

3/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Slovakia, Kendice  1966

4/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Slovakia, Zehra  1967

Josef Koudelka’s first photography series, Gypsies, captures the daily lives of Roma communities in Bohemia, Moravia and Slovakia (then Czechoslovakia), as well as Hungary, France, Romania and Spain. The series documents a period of post-war upheaval when Roma people were undergoing forced integration and persecution across Europe. Using a 25mm wide-angle lens, Koudelka was able to immerse himself in intimate settings and small spaces. Known as ‘Ikonar’ (maker of icons) by some of the communities he worked with, he captured Roma traditions, struggles and resilience in striking compositions.

Gallery label, March 2025

5/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Ireland  1976

6/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Germany  1979

7/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Slovakia, Rakasy  1966

8/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Romania  1968

Josef Koudelka’s first photography series, Gypsies, captures the daily lives of Roma communities in Bohemia, Moravia and Slovakia (then Czechoslovakia), as well as Hungary, France, Romania and Spain. The series documents a period of post-war upheaval when Roma people were undergoing forced integration and persecution across Europe. Using a 25mm wide-angle lens, Koudelka was able to immerse himself in intimate settings and small spaces. Known as ‘Ikonar’ (maker of icons) by some of the communities he worked with, he captured Roma traditions, struggles and resilience in striking compositions.

Gallery label, March 2025

9/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, England  1976

In Exiles, Josef Koudelka documents his travels across Europe after fleeing Czechoslovakia in 1970. He remained stateless until 1987 when he received French citizenship. This time in his life was characterised by a desire for freedom and a constant state of restlessness. According to Koudelka, he never stayed anywhere longer than three months. Exiles reflects his sense of displacement and discovery of both himself and his surroundings. His photographs of desolate landscapes, abandoned urban scenes and solitary moments show his understanding of complex composition and tone.

Gallery label, March 2025

10/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Ireland  1972

11/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Wales  1974

12/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia  1968

13/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, On 22 and 23 August, Wenceslas Square was Cleared of People, August 1968  1968, printed 1970s

This image of an arm held up against Prague’s Wenceslas Square has become Josef Koudelka’s most iconic photograph. The usually bustling square is eerily quiet. For a long time, Koudelka thought he had taken the photograph at 6pm. This would have been proof the Czechoslovakian people had not fallen for a Soviet ruse to attend an evening protest and given the soldiers an excuse to attack. Years later, however, he realised the watch read 12 noon when the square had also been cleared.

Gallery label, March 2025

14/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Defending the Czechoslovak Radio Building, Prague, August 1968  1968, printed 1970s

‘The Russian invasion of Czechoslovakia in August 1968 concerned my life directly. It was my country. I took these photographs for myself, not for a magazine. It was only by chance that they were published. I wasn’t a reporter. I had never photographed anything that you would call ‘news’. Suddenly, for the first time in my life, I was confronted with that kind of situation. I responded to it. I knew it was important to photograph, so I photographed.’

Taken with remarkable proximity, Josef Koudelka’s photographs were first shown to the international public the following year. For his safety, they were credited to ‘an unknown photographer’.

Gallery label, March 2025

15/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Slovakia, Klenovec  1967

Josef Koudelka’s first photography series, Gypsies, captures the daily lives of Roma communities in Bohemia, Moravia and Slovakia (then Czechoslovakia), as well as Hungary, France, Romania and Spain. The series documents a period of post-war upheaval when Roma people were undergoing forced integration and persecution across Europe. Using a 25mm wide-angle lens, Koudelka was able to immerse himself in intimate settings and small spaces. Known as ‘Ikonar’ (maker of icons) by some of the communities he worked with, he captured Roma traditions, struggles and resilience in striking compositions.

Gallery label, March 2025

16/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Czechoslovakia, Prague, August 21st, 1968. Warsaw Pact tanks invade Prague, near the Radio headquarters, crowds push back the first tank  1968

‘The Russian invasion of Czechoslovakia in August 1968 concerned my life directly. It was my country. I took these photographs for myself, not for a magazine. It was only by chance that they were published. I wasn’t a reporter. I had never photographed anything that you would call ‘news’. Suddenly, for the first time in my life, I was confronted with that kind of situation. I responded to it. I knew it was important to photograph, so I photographed.’

Taken with remarkable proximity, Josef Koudelka’s photographs were first shown to the international public the following year. For his safety, they were credited to ‘an unknown photographer’.

Gallery label, March 2025

17/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, Spain  1971

In Exiles, Josef Koudelka documents his travels across Europe after fleeing Czechoslovakia in 1970. He remained stateless until 1987 when he received French citizenship. This time in his life was characterised by a desire for freedom and a constant state of restlessness. According to Koudelka, he never stayed anywhere longer than three months. Exiles reflects his sense of displacement and discovery of both himself and his surroundings. His photographs of desolate landscapes, abandoned urban scenes and solitary moments show his understanding of complex composition and tone.

Gallery label, March 2025

18/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, At the Czechoslovak Radio Building, Vinohradská Avenue, Prague, August 1968  1968, printed 1970s

‘The Russian invasion of Czechoslovakia in August 1968 concerned my life directly. It was my country. I took these photographs for myself, not for a magazine. It was only by chance that they were published. I wasn’t a reporter. I had never photographed anything that you would call ‘news’. Suddenly, for the first time in my life, I was confronted with that kind of situation. I responded to it. I knew it was important to photograph, so I photographed.’

Taken with remarkable proximity, Josef Koudelka’s photographs were first shown to the international public the following year. For his safety, they were credited to ‘an unknown photographer’.

Gallery label, March 2025

19/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Josef Koudelka, France  1976

20/20
artworks in Leon Golub and Nancy Spero

More on this artwork

Art in this room

P82783: Spain
Josef Koudelka Spain 1975
P21048: Ireland - Official View
Josef Koudelka Ireland 1970
P21049: Czechoslovakia, Slovakia, Zehra - Official View
Josef Koudelka Czechoslovakia, Slovakia, Zehra 1967
P82820: Czechoslovakia, Slovakia, Kendice - Official View
Josef Koudelka Czechoslovakia, Slovakia, Kendice 1966
P82823: Czechoslovakia, Slovakia, Zehra - Official View
Josef Koudelka Czechoslovakia, Slovakia, Zehra 1967
P21038: Ireland
Josef Koudelka Ireland 1976
P21039: Germany
Josef Koudelka Germany 1979
P21046: Czechoslovakia, Slovakia, Rakasy - Official View
Josef Koudelka Czechoslovakia, Slovakia, Rakasy 1966
P21047: Romania - Official View
Josef Koudelka Romania 1968
P82779: England
Josef Koudelka England 1976
P82780: Ireland
Josef Koudelka Ireland 1972
P82784: Wales
Josef Koudelka Wales 1974
P82781: Czechoslovakia
Josef Koudelka Czechoslovakia 1968
P82786: On 22 and 23 August, Wenceslas Square was Cleared of People, August 1968
Josef Koudelka On 22 and 23 August, Wenceslas Square was Cleared of People, August 1968 1968, printed 1970s
P82788: Defending the Czechoslovak Radio Building, Prague, August 1968
Josef Koudelka Defending the Czechoslovak Radio Building, Prague, August 1968 1968, printed 1970s
P82821: Czechoslovakia, Slovakia, Klenovec - Official View
Josef Koudelka Czechoslovakia, Slovakia, Klenovec 1967
P21051: Czechoslovakia, Prague, August 21st, 1968. Warsaw Pact tanks invade Prague, near the Radio headquarters, crowds push back the first tank - Official View
Josef Koudelka Czechoslovakia, Prague, August 21st, 1968. Warsaw Pact tanks invade Prague, near the Radio headquarters, crowds push back the first tank 1968
P82782: Spain
Josef Koudelka Spain 1971
P82787: At the Czechoslovak Radio Building, Vinohradská Avenue, Prague, August 1968
Josef Koudelka At the Czechoslovak Radio Building, Vinohradská Avenue, Prague, August 1968 1968, printed 1970s
P21040: France
Josef Koudelka France 1976

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