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Showing 3,661–3,677 of 3,677 results for winter

Tate Papers

Lost and Found? Hamad Butt at Tate

Andrew Cummings

This article constructs a ‘pre-history’ of °Õ²¹³Ù±ð’s acquisition of Hamad Butt’s final major installation work, Familiars. Taking into account …

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1960–9

Timeline of American Art in Britain | 1960s | The plurality and diversity of contemporary American art are recognised, as …
Tate Papers

Face-Off in Weimar Culture: The Physiognomic Paradigm, Competing Portrait Anthologies, and August Sander’s Face of Our Time

Wolfgang Brückle

August Sander’s photobook Face of Our Time is discussed in relation to interest in physiognomy in Weimar Germany. Much of …

Tate Papers

Biopolitical Effigies: The Volatile Life-Cast in the Work of Paul Thek and Lynn Hershman Leeson

Milena Tomic

In the late 1960s and early 1970s American artists Paul Thek and Lynn Hershman Leeson independently created wax effigies and …

Tate Papers

Frank Bowling: Material Explorations

Laura Homer

This paper establishes a technical art history of the paintings of Frank Bowling and chronicles materials and techniques used by …

Tate Papers

The Value of Values: Reflections on Tate Exchange

Anna Cutler

This paper aims to explore the frames of practice that were constructed or improvised in Tate Exchange over its first …

Tate Papers

‘Not Incorrect and Particularly Not Irrelevant’: Joseph Beuys and Henning Christiansen, 1966–71

Peter van der Meijden

Between 1966 and 1971, Danish composer Henning Christiansen (1932–2008) appeared in eight of Joseph Beuys’s actions. This article examines the …

Tate Papers

‘Layers of Looking’: Changing Surfaces in the Paintings of Gary Hume

Rachel Scott, Helen Brett and Bronwyn Ormsby

This article explores issues of change in the high gloss surfaces of four of Gary Hume’s paintings: Incubus 1991, Water …

Tate Papers

Learning through the Acquisition and Display of Works by Ima-Abasi Okon: Enacting Radical Hospitality through Deliberate Slowness

Libby Ireland

As part of the research project Reshaping the Collectible: When Artworks Live in the Museum, practice-based research was undertaken in …

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 …

Where Theory Belongs: Four Ways to Experience a Seminar in Contemporary Art

Dr Stephen Wilson

Exploring how the format of the seminar as used in contemporary art education is developing, and the social, economic and …

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From the Issue of Art to the Issue of Position: The Echoes of Socialist Realism

Liu Ding and Carol Yinghua Lu

Socialist Realism represented the dominant creative method of China’s revolutionary era, yet critical histories of the practice are limited. This …

In Focus

Temporal Mise en Abyme , or Presence and the Past in Seven Lives and a Dream

Sophia Powers

Tate Papers

The Making of a Triptych: The Annunciation and Adoration of the Magi 1861 by Edward Burne-Jones

Rachel Scott, Fiona Mann, Katherine Hinzman, Joyce H. Townsend and Alastair Johnson

This paper examines Edward Burne-Jones’s commission to make an altarpiece for St Paul’s church, Brighton. For this, his first major …

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Institutional Practices: Collecting Performance Art at Tate

Louise Lawson, Stephen Huyton, Hélia Marçal and Ana Ribeiro

This essay explores the institutional practices that guide the acquisition and long-term care of performance artworks
Tate Papers

Guttuso, Guernica, Gramsci: Art, History and the Symbolic Strategy of the Italian Communist Party

Lara Pucci

The Italian Communist artist Renato Guttuso found in Picasso’s 1937 painting Guernica a language with which to confront the violence …

Tate Papers

The Construction of Whiteness, Gender and Race in Early Modern Portraits

Janet Couloute

This article examines the construction of whiteness in three early modern portraits in the Tate collection: The Cholmondeley Ladies c.1600–10 …

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