ºÚÁÏÉç

Skip navigation

Main menu

  • What's on
  • Art & Artists
    • The Collection
      Artists
      Artworks
      Art by theme
      Media
      Videos
      Podcasts
      Short articles
      Learning
      Schools
      Art Terms
      Tate Research
      Art Making
      Create like an artist
      Kids art activities
      Tate Draw game
  • Visit
  • DISCOVER ART
  • ARTISTS A-Z
  • ARTWORK SEARCH
  • ART BY THEME
  • VIDEOS
  • ART TERMS
  • SCHOOLS
  • TATE KIDS
  • RESEARCH
  • Tate Britain
    Tate Britain Free admission
  • ºÚÁÏÉç
    ºÚÁÏÉç Free admission
  • Tate Liverpool + RIBA North
    Tate Liverpool + RIBA North Free admission
  • Tate St Ives
    Tate St Ives Ticket or membership card required
  • FAMILIES
  • ACCESSIBILITY
  • SCHOOLS
  • PRIVATE TOURS
Tate Logo

Tate Papers ISSN 1753-9854

Tate Papers no.2 Autumn 2004

  • Email

In this Issue

    Contemporary Art and the Role of Interpretation

    Helen Charman and Michaela Ross

    New Media Art and the Gallery in the Digital Age

    Charlie Gere

    Paintings on Canvas: Lining and Alternatives

    Stephen Hackney

    ‘The Veriest Poem of Art in Nature’: E. A. Hornel’s Japanese Garden in the Scottish Borders

    Ysanne Holt

    Conservation Concerns for Acrylic Emulsion Paints: A Literature Review

    Elizabeth Jablonski, Tom Learner, James Hayes and Mark Golden

    Awkward Relations

    Neil Mulholland

    Judd through Oldenburg

    Richard Shiff

    The Materials Used by British Oil Painters in the Nineteenth Century

    Joyce H. Townsend

    Kenneth Armitage’s Pandarus (version 8)

    Toby Treves

Artwork
Close

Join in

Sign up to emails

Sign up to emails

This site is protected by reCAPTCHA and the Google and apply.

°Õ²¹³Ù±ð’s privacy policy

About

  • About us
  • Our collection
  • Terms and copyright
  • Governance
  • ARTIST ROOMS
  • Tate Kids

Support

  • ºÚÁÏÉç
  • Patrons
  • Donate
  • Corporate
  • Press
  • Jobs
  • Accessibility
  • Privacy
  • Cookies
  • Contact
© The Board of Trustees of the Tate Gallery, 2025
All rights reserved