Showing 21–40 of 3,041 results
Tate Papers
Guided Freedom: Aesthetics, Tutelage, and the Interpretation of Art
This paper examines the operations of post-Kantian aesthetic discourses as parts of cultural technologies that induct individuals into particular kinds …
Tate Papers
Art of Interaction: A Theoretical Examination of Carsten Höller’s Test Site
This paper looks at the interactivity of Carsten Höller’s Test Site 2006, using Alfred Gell’s Art and Agency (1998) and …
Tate Papers
Scale in Sculpture: The Sixties and Henry Moore: Rothenstein Lecture
How do size and scale matter to the sculpture of Henry Moore? This paper offers a preliminary investigation of this …
Tate Papers
David Musgrave: Faulty Images
This paper takes as its starting point two drawings by David Musgrave in Tate’s collection, Plane with inverted figure 2007 …
Tate Papers
What if Art Desires to be Interpreted? Remodelling Interpretation after the ‘Encounter-Event’
Taking up analytical theorist and painter Bracha Ettinger’s argument that it is the destiny and desire of artworks to be …
Tate Papers
Tate Social Media Communication Strategy 2011–12
This report provides an overview of Tate’s Social Media Communication Strategy, outlining the key objectives for each of its social …
Tate Papers
Video Games and the Technological Sublime
This paper examines the notion of the contemporary technological sublime, and asks what sublime affect means in the context of …
Tate Papers
‘Waste Dominion’, ‘White Warfare’, and Antarctic Modernism
This paper considers the historical coincidence of modernism and the heroic age of Antarctic exploration. In particular, it contextualises allusions …
Tate Papers
Lawrence Alloway’s Spatial Utopia: Contemporary Photography as ‘Horizontal Description’
The mobility of art was a concept central to British critic Lawrence Alloway’s understanding of the role of visual imagery …
Tate Papers
Mapping the Field: Lawrence Alloway’s Art Criticism-as-Information
Lawrence Alloway claimed that the art critic should avoid explicit value judgements and instead provide information. This paper historicises Alloway’s …
Tate Papers
Art World, Network and Other Alloway Keywords
The British critic Lawrence Alloway (1926–1990) generated a new vocabulary for American art of the 1960s and 1970s. This paper …
Tate Papers
‘Palpable and Mute as a Globed Fruit’
This paper considers a series of fundamental problems and paradoxes in accounting for interpretation in contemporary museum encounters, and explores …
Tate Papers
The Arctic Fantasies of Edwin Landseer and Briton Riviere: Polar Bears, Wilderness and Notions of the Sublime
Nineteenth-century images of the Arctic suggest that the sublime lost its religious and moral dimensions. While Frederic Church’s painting Icebergs …
Tate Papers
Regular Novelties: Lawrence Alloway's Film Criticism
The uncertain relationship between art and industry was at the heart of the questions Lawrence Alloway had been asking about …
Tate Papers
ARTIST ROOMS: Young People and Learning 2009–10
This report describes and evaluates the ARTIST ROOMS learning initiatives launched in 2009–10 at Tate and the National Galleries of …
Tate Papers
Parallel Systems: Lawrence Alloway and Eduardo Paolozzi
This essay plots the shared intellectual concerns of the critic Lawrence Alloway and the artist Eduardo Paolozzi, focusing on their …
Tate Papers
Psychosis and the Sublime in American Art: Rothko and Smithson: The Sublime Object
This paper addresses the work of Mark Rothko (1903–1970) and Robert Smithson (1938–1973), and, referring to the philosopher Kant and …
Tate Papers
Milton, Lucy Hutchinson, and the Lucretian Sublime: The Sublime Object
Lucretius’s De rerum natura is a neglected source for the emergence of the theory and practice of the sublime in …
Tate Papers
Wild Geese Over the Mountains: Melodrama and the Sublime in the English Imaginary 1933–9: The Sublime Object
The paper traces the frequency with which familiar tropes of the sublime are used in the writing and painting of …