Tate Papers - The Tate’s Online Research Journal
Naum Gabo as a Soviet Émigré in Berlin Christina Lodder
Liubov Popova: From Painting to Textile Design Christina Lodder
Richard Hamilton’s The annunciation Fanny Singer
Blake’s 1809 Exhibition - William Blake’s 1809 Exhibition David Blayney Brown and Martin Myrone
Blake’s 1809 Exhibition - An Alternative National Gallery: Blake’s 1809 Exhibition and the Attack on Evangelical Culture Susan Matthews
Blake’s 1809 Exhibition - Reasoned Exhibitions: Blake in 1809 and Reynolds in 1813 Konstantinos Stefanis
On Drawing - Dust and Doubt: The Deserts and Galaxies of Vija Celmins Stephanie Straine
On Drawing - Merzzeichnung: Typology and Typography Michael White
The Sublime Object - Listening for the Sublime: Aural-Visual Improvisations in Nineteenth-Century Musical Art Charlotte Purkis
The Sublime Object - Video Games and the Technological Sublime Eugénie Shinkle
What Is To Be Done, Sandra? Learning in Cultural Institutions of the Twenty-First Century Anna Cutler
The Sublime Object - ‘Behold the Buffoon’: Dada, Nietzsche’s Ecce Homo and the Sublime Christine Battersby
The Sublime Object - The Sublime Plurality of Worlds: Lucretius in the Eighteenth Century Anne Janowitz
The Sublime Object - Psychosis and the Sublime in American Art: Rothko and Smithson Timothy D. Martin
The Sublime Object - Wild Geese Over the Mountains: Melodrama and the Sublime in the English Imaginary 1933–9 Ian Patterson
The Sublime Object - Stubbs, Walpole and Burke: Convulsive Imitation and ‘Truth Extorted’ Aris Sarafianos
The Sublime Object - The Psychiatric Sublime Nicholas Tromans
REPORTS AND TALKS
Tate Online Strategy 2010–12 John Stack
Landmark Exhibitions - Introduction Marko Daniel and Antony Hudek
Landmark Exhibitions - To Be Continued: Periodic Exhibitions (documenta for example) Walter Grasskamp
Landmark Exhibitions - Lessons Learned Hans Haacke
Landmark Exhibitions - Curating by Numbers Lucy R. Lippard
Landmark Exhibitions - Unconcealment Lynda Morris
The Other Story and the Past Imperfect Jean Fisher
Aleksandr Rodchenko’s Lines of Force Brandon Taylor
The Grid as a Checkpoint of Modernity Margarita Tupitsyn
REPORTS AND TALKS
Are Images Global? Nada Shabout
Reading (and Curating) from Right to Left Gilane Tawadros
On the Politics of Art and Space in Beirut Kaelen Wilson-Goldie
Landmark Exhibitions - Introduction Marko Daniel and Antony Hudek
Landmark Exhibitions - To Be Continued: Periodic Exhibitions (documenta for example) Walter Grasskamp
Landmark Exhibitions - Lessons Learned Hans Haacke
Landmark Exhibitions - Curating by Numbers Lucy R. Lippard
Landmark Exhibitions - Unconcealment Lynda Morris
The Other Story and the Past Imperfect Jean Fisher
Aleksandr Rodchenko’s Lines of Force Brandon Taylor
The Grid as a Checkpoint of Modernity Margarita Tupitsyn
REPORTS AND TALKS
Are Images Global? Nada Shabout
Reading (and Curating) from Right to Left Gilane Tawadros
On the Politics of Art and Space in Beirut Kaelen Wilson-Goldie
Border Crossing Felicity Allen
The Artist as Educator: Examining Relationships between Art Practice and Pedagogy in the Gallery Context Emily Pringle
Experiments in Integrated Programming Sally Tallant
The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta Joanna S. Walker
REPORTS AND TALKS
Turner Prize 2008 Reading Room Report Ashlee Honeybourne
Renate Meijer and Minnie Scott
Time-Lines: Rilke and Twombly on the Nile Mary Jacobus
An Unpublished Drawing by Duchamp: Hell in Philadelphia Jennifer Mundy
Cy Twombly’s Humanist Upbringing Carol A. Nigro
On the Evolution of a Peer-led Programmme: Tate Forum Rebecca Sinker
The History and Manufacture of Lithol Red, a Pigment Used by Mark Rothko in his Seagram and Harvard Murals of the 1950s and 1960s Harriet A. L. Standeven
REPORTS AND TALKS
Advocating to Stakeholders Andrea Nixon
Perspectives: Negotiating the Archive Sue Breakell
Alfredo Jaar and the Post-Traumatic Gaze Olivier Chow
Sir Edwin Manton’s Glebe: Completing the Provenance of Constable’s Glebe Farm Sketch c.1830 Douglas Congdon-Martin
Art in the Archives: An Artist’s Residency in the Archives of the London School of Economics Sue Donnelly
Tangentially: The Archive and the Bathroom Lucy Gunning, Jo Melvin and Victoria Worsley
The Legacy of Interaction: Artists at the Imperial War Museum 1981–2007 Catherine Moriarty and Angela Weight
The Very Late Style of Hans Hartung Jennifer Mundy
The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication Sebastiano Barassi
Thoughts on Replication and the Work of Eva Hesse Michelle Barger
Nothing but the Real Thing: Considerations on Copies, Remakes and Replicas in Modern Art Lydia Beerkens
Replicas and Reconstructions in Twentieth-Century Art Christiane Berndes
Hélio Oiticica Guy Brett
Richard Serra: A Case Study Lynne Cooke
Thoughts on Thoughts on Replication Harry Cooper
Replication: Then and Now Penelope Curtis
Amazement and Uneasiness: Early Thoughts Matthew Gale
Anthony McCall’s Line Describing a Cone Mark Godfrey and Anthony McCall
The Rules of the Game Walter Grasskamp
Tate Sculpture Replica Project Jackie Heuman and Lyndsey Morgan
Resistance to Replication Margaret Iversen
The Passing Away of Art Ulrich Lang
Replication and Decay in Damien Hirst's Natural History Petra Lange-Berndt
The Model of Vladimir Tatlin’s Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge Nathalie Leleu
Naum Gabo and the Quandaries of the Replica Christina Lodder
Posthumous Legal and Ethical Issues Henry Lydiate
Authority and Ethics Carol Mancusi-Ungaro
Gabo Cataloguing Project at the Tate Archive Anna McNally
Why/Why Not Replicate? Jennifer Mundy
Kurt Schwitters: Reconstructions of the Merzbau Karin Orchard
Reconstructing the Forgotten: An Exhibition of 1970s and 1980s Video Installations, Re-staged with Authentic Technology Joanna Phillips
The Enduringly Ephemeral Alex Potts
Carl Andre Alistair Rider
Inherent Vice Julian Stallabrass
Replication: Some Thoughts, Some Works Simon Starling
Inherent Vice or Vice Versa Sturtevant
Je travaille sur la présence Didier Vermeiren
Replicas of Constructions by Naum Gabo: A Statement by the Copyright Holders Nina and Graham Williams
SUPPORTING DOCUMENTS
Replication of Sculpture / Works of Art: Legal Guidelines Tate Legal and Copyright Department
Digitisation and Conservation Tate Legal and Copyright Department
Afterthoughts Introduction by Matthew Gale
Historically Accurate Reconstructions of Artists’ Oil Painting Materials Leslie Carlyle and Maartjee Witlox
A Dramatic Reading of Augustus Leopold Egg’s Untitled Triptych Annabel Rutherford
Josef Albers, Eva Hesse, and the Imperative of Teaching Jeffrey Saletnik
Lines of Sight: Alfred Watkins, Photography and Topography in Early Twentieth-Century Britain Stephen Daniels
'Pataphysical Graham': A Consideration of the Pataphysical Dimension of the Artistic Practice of Rodney Graham Steven Harris
Edward Hopper and British Artists David Fraser Jenkins
The Effects of Surface Cleaning on Acrylic Emulsion Paintings Bronwyn Ormsby Et Al
Kandinsky and Contemporary Painting Brandon Taylor
A Lively Parrot: Frances Hodgkins's Wings Over Water Sarah Hillary and Joyce H. Townsend
All Systems Go: Recovering Jack Burnham’s ‘Systems Aesthetics’ Luke Skrebowski
Beuys is Dead: Long Live Beuys! Characterising Volition, Longevity, and Decision-Making in the Work of Joseph Beuys Rachel Barker and Alison Bracker
Emila Medková: The Magic of Despair Krzysztof Fijałkowski
Jolt, Catalyst, Spark! Encounters with Artworks in the Schools Programme at Tate Modern Michèle Fuirer
Thomas Gainsborough's 'Lost' Portrait of Auguste Vestris Martin Postle
The Separateness of Things Victor Burgin
Glazing Over: A Review of Glazing Options for Works of Art on Paper Rosie Freemantle
Thomas Guest and Paul Nash in Wiltshire: Two Episodes in the Artistic Approach to British Antiquity Sam Smiles
Contemporary Art and the Role of Interpretation: Reflections on Tate Modern’s Summer Institute for Teachers 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
On Painting Art & Language
'Unland'. The Place of Testimony Tanya Barson
An 'overflowing, a richness & poetry': Joseph Cornell's Planet Set and Giuditta Pasta Jennifer Mundy
'Are We as a Society Going to Carry on Treating People This Way?' Michael Landy's Scrapheap Services Sean Rainbird
The Photographic Comportment of Bernd and Hilla Becher Blake Stimson
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