Relevant bibliographies by topics / Tate Gallery (Londen)

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Academic literature on the topic 'Tate Gallery (Londen)'

Author: Grafiati
Published: 13 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Tate Gallery (Londen)"

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Swords, Helen. "Kathy Prendergast, Tate Gallery, London, March - May 1997." Circa, no. 80 (1997): 57. http://dx.doi.org/10.2307/25563148.

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Brannigan, Erin. "Dance and the Gallery: Curation as Revision." Dance Research Journal 47, no. 1 (April 2015): 5–25. http://dx.doi.org/10.1017/s0149767715000054.

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… for several years now I've failed to find a solution to the London Tate Modern's demand for an exhibition of dance. … I never managed to find an adequate connection between the museum framework and dance. … We must try and solve this problem: dance is starting to be recognized as art. In the end it's as if you had to enter the museum to be legitimized! As a result, pressure to exhibit is growing.(Jérôme Bel n.d. 2014)13 Rooms, an exhibition curated by Hans Ulrich Obrist (Serpentine Gallery, London) and Klaus Biesenbach (MoMA, New York) and presented in Sydney in April 2013, included the work of choreographers and dancers as authors, performers, objects, and gallery guides. Described by its curators as an exhibition of “living sculptures” featuring “protagonists,” it raised many issues around dance-based knowledges, power relations between dance and the visual arts, art as commodity, and performer agency in performance-based works exhibited in galleries, particularly re-enacted durational works. During the course of the exhibition, a cast of around 100 performers, drawing on their own repository of physical training and “body-archive,” realized works by artists such as Marina Abramovic (Luminosity, 1997) and Joan Jonas (Mirror Check, 1970). These two works in particular required physical skills and training, and the performers were chosen on this basis. For both these pieces, the body-to-body transmission of the artists' intentions—which is so important in dance processes—was undertaken by the artists' representatives.
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Chamberlain, Rebecca, and Robert Pepperell. "Slow Looking at Slow Art: The Work of Pierre Bonnard." Leonardo 54, no. 6 (2021): 615–18. http://dx.doi.org/10.1162/leon_a_02054.

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Abstract Slow looking is an increasingly prevalent strategy for enhancing visitor engagement in the gallery, yet there is little research to show why looking at artworks for longer should be beneficial. The curator of a recent exhibition of Pierre Bonnard at the Tate Gallery in London encouraged viewers to look slowly in order to enrich their experience of Bonnard’s paintings. This article explores some of the reasons why Bonnard’s work, in particular, rewards the viewer who spends more time studying it. The authors draw on various scientific studies of the ways in which observers process color contrasts, spatial configuration and figure-ground segregation in artworks and in everyday vision. They propose that prolonged interactions with works of art can facilitate perceptual learning, and they suggest ways in which these effects could be empirically studied using psychological methods.
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Attia, Kader. "Sidewalk’s Cloud (2014)." TDR/The Drama Review 59, no. 1 (March 2015): 2. http://dx.doi.org/10.1162/dram_a_00422.

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Kader Attia lives and works in Berlin and Algiers. His first solo exhibition was held in 1996 in the Democratic Republic of Congo. In 2003, he gained international recognition at the 50th Venice Biennale. In 2014, he was awarded the Berlin Art Prize: Jubilee Foundation 1848/1948. Recent exhibitions include Culture, Another Nature Repaired (solo show), Middelheim Museum, Antwerp; Contre Nature (solo show), Beirut Art Center; Continuum of Repair: The Light of Jacob’s Ladder (solo show), Whitechapel Gallery, London; Repair. 5 Acts (solo show), KW Institute for Contemporary Art, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique (solo show), Musée d’Art Moderne de la Ville de Paris; the Biennale of Dakar; dOCUMENTA(13) in Kassel; Performing Histories (1) at MoMA, New York; and Contested Terrains, Tate Modern, London.
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Osmond, Gillian. "RHODAMINE B AND NEUTRAL RED: SCOPE OF RESEARCH TO BE UNDERTAKEN, TATE GALLERY, LONDON, 1991-92." AICCM Bulletin 17, no. 3-4 (December 1991): 71–74. http://dx.doi.org/10.1179/bac.1991.17.3-4.008.

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Hilson, Chris. "Sensitivity in the law of nuisance: Should people in glass houses expect voyeurs? Fearn v Tate Gallery [2019] EWHC 246 (Ch)." Environmental Law Review 21, no. 2 (June 2019): 136–39. http://dx.doi.org/10.1177/1461452919843663.

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The case Fearn v Tate Gallery involved claims brought by luxury London flat owners for breach of privacy in relation to the Tate Modern’s nearby viewing platform. One of the key issues in the case, heard by Mann J in the High Court, was whether the floor-to-ceiling glass windows of the flats – through which members of the public on the viewing platform could easily gaze – meant the residents were unduly sensitive users of the land for the purposes of the tort of nuisance. This case note considers this question along with the principle in nuisance that it is normally no defence to say that the claimant came to the nuisance. Both sensitivity and the coming to the nuisance (non-) defence are important elements of nuisance as an environmental tort and hence the case is worthy of note for environmental lawyers.
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Unwin, Simon. "The architect is present?" Architectural Research Quarterly 14, no. 2 (June 2010): 89–91. http://dx.doi.org/10.1017/s1359135510000709.

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Some artists have a sense of architecture, using it in or around their work. I am thinking of Antony Gormley whose casts of his own body are almost always located in relation to a setting – whether a beach, the courtyard of a gallery or the precipitous edges of high buildings. I am thinking too of James Turrell whose light spaces are works of architecture, places in which to contemplate the sky, to watch the sunlight pan slowly around the space. I would cite too Martin Creed whose fugitive sprinters ran approximately along the axis of the Duveen Galleries at Tate Britain in London, framed by them, avoiding visitors as they rushed from one end to the other; and Anish Kapoor for his bulbous walls or his vast ‘trumpet’ – Marsyas – in the Turbine Hall of Tate Modern.
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Bhreathnach-Lynch, Sighle. "Sighle Bhreathnach-Lynch Reports on the Association of Art Historians Conference (Tate Gallery, London April 2-4 1993)." Circa, no. 64 (1993): 13. http://dx.doi.org/10.2307/25557776.

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Minghella, A. "A Recent Talk at the Tate Gallery, London by Academy Award© Winning Writer and Director Anthony Minghella." New Writing 2, no. 1 (April 15, 2005): 58–67. http://dx.doi.org/10.1080/14790720508668945.

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Maureen McCue. "Guiding the Nation's Taste: Nineteenth-Century Periodicals and the Construction of the National Gallery in London, 1824–1842." Yearbook of English Studies 48 (2018): 13. http://dx.doi.org/10.5699/yearenglstud.48.2018.0013.

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Dissertations / Theses on the topic "Tate Gallery (Londen)"

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Vignon, Charlotte. "Londres – New York – Paris : le commerce d’objets d’art de Duveen Frères entre 1880 et 1940." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040235.

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Pourquoi tant d’objets d’art décoratifs de collections européennes se trouvent-ils aujourd’hui dispersés aux quatre coins des Etats-Unis ? A partir de documents d’archives inédits et d’une lecture critique des sources, cette thèse appréhende l’exode du patrimoine européen vers les Etats-Unis du début du vingtième siècle à travers le parcours d’acteurs importants de ce phénomène : les marchands Joel, Henry et Joseph Duveen à la tête de la prestigieuse galerie d’objets d’art et de tableaux, Duveen Frères, établie à Londres et New York dès la fin du dix-neuvième siècle et en 1908 à Paris. Sont d’abord étudiés les stratégies commerciales qui projetèrent les Duveen à la première place du commerce d’objets d’art de l’époque (I). Vient ensuite une analyse précise du commerce d’objets d’art de la firme : celui des porcelaines de Chine, puis des meubles et objets d’art du dix-huitième siècle français et enfin des objets médiévaux et de la Renaissance (II). Finalement, est abordé, l’activité de décorateur de la firme (III)
Why are so many European objets d’art found in collections across the United States today ? This PhD dissertation explores the exodus of decorative arts objects originating from the private collections of Europe’s cultural elite at the beginning of the twentieth century by providing a new interpretation of unpublished archival materials and an in-depth study of the three key figures who contributed to this phenomenon : Joel, Henry, and Joseph Duveen of Duveen Brothers, the prestigious international art firm established in London and New York at the close of the nineteenth century, and in Paris in 1908. Beginning with an examination of the strategies employed by Duveen Brothers to monopolize the American art market and become the preeminent dealers of their time (I), this thesis is followed by a meticulously researched exploration of their dealings in Chinese porcelains, eighteenth-century French decorative arts, and medieval and Renaissance art (II), and concludes with a thorough analysis of the firm’s activities in the area of interior decoration (III)
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Baixa, Célia Maria da Costa. "A Tate Gallery : de Millbank a Bankside." Doctoral thesis, 2015. http://hdl.handle.net/10451/22915.

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Tese de doutoramento, Estudos de Literatura e de Cultura (Cultura e Comunicação), Universidade de Lisboa, Faculdade de Letras, 2016
Esta tese explora os contextos de evolução da Tate Gallery em Londres desde a sua origem no século XIX até ao presente. Através de uma abordagem multidisciplinar filiada nos Estudos Culturais este estudo tem como objetivo dar um contributo para a análise das transformações da cultura e da sociedade assim como fornecer um enquadramento para estudar conceitos como ideologia, representação, identidade e poder. Criada no contexto de consolidação do Estado-nação e sob o conceito vitoriano de museu como motor de progresso social, a Tate Gallery, abriu em Millbank, Londres em 1897 com o nome National Gallery of British Art para alojar as quase 70 obras de arte britânica doadas por Henry Tate ao Estado. A sua criação, como um anexo da National Gallery, preenchia as ambições de uma classe média próspera cuja identidade era definida através de um sentido de modernidade concretizado pelo patrocínio da arte nacional contemporânea. Mais de um século depois, e com uma coleção de mais de 70.000 obras, a Tate é hoje constituída por quatro galerias, a Tate Britain e a Tate Modern em Londres, a Tate St Ives em Cornwall e a Tate Liverpool. A funcionar segundo uma lógica empresarial e como uma marca cultural, as prioridades da Tate estão concentradas na captação de públicos, no desenvolvimento de atividades e serviços com base nas tecnologias e na operacionalização de estratégias de branding e marketing com o objetivo de oferecer uma grande amplitude de experiências e de comunicar com um público global. Enquadrada num complexo caracterizado pelo consumo, pelo entretenimento e pelo espetáculo e com cerca de 4.500.000 de visitantes por ano, a Tate Modern, a quarta galeria Tate que abriu em Londres, em Bankside, em 2000, tem uma presença de peso no competitivo mercado cultural e uma posição dominante no ranking dos museus mais visitados do mundo.
This thesis examines the contexts of development of the Tate Gallery in London since its creation in the 19th century until the present. With a multidisciplinary approach affiliated in the Cultural Studies, it aims to provide an analysis of the transformations in culture and society and a background to explore concepts such as ideology, identity, representation and power. Framed by the cultural and ideological apparatus of the nation-state and by the Victorian concept of museum as an engine of social progress, the Tate Gallery, created as National Gallery of British Art, opened in Millbank, London in 1897 to house the nearly 70 works of British art Henry Tate gifted to the nation. Its creation, as an annex of the National Gallery, fulfilled the ambitions of a prosperous middle class whose identity was being defined by a sense of modernity embodied in the sponsorship of contemporary national artists. Over a hundred years later and with a collection of about 70,000 works of national and international art, the Tate is now composed of four galleries, Tate Britain and Tate Modern in London, Tate St Ives in Cornwall and Tate Liverpool. Operating as a corporate museum and a cultural brand, Tate’s main priorities are audience engagement, technology-based activities and branding so as to offer a wide range of experiences and communicate to a global audience. Framed by consumerism, entertainment and spectacle and with an estimated 4.5 million visitors per year, Tate Modern, the fourth Tate Gallery that opened in Bankside, London, in 2000, has a significant presence in the competitive art world and a strong position within the most visited museums worldwide.
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Vilhena, Ricardo Farrajota de 1985. "Materialidade e expressão formal em arquitectura : o caso de Herzog & de Meuron." Master's thesis, 2017. http://hdl.handle.net/11067/3293.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012
Exame público realizado em 10 de Abril de 2013
Este trabalho pretende um entendimento da obra da dupla de arquitectos Herzog & de Meuron. Esta dupla tem apresentado um papel importante no panorama actual da arquitectura, pela diferença e pelo modo como tratam a materialidade nas suas obras. Os arquitectos destacam-se pelo seu surpreendente trabalho desenvolvido ao longo das últimas três décadas, ganhando um estatuto de arquitectos referência. Deste modo, com este trabalho procuramos entender com maior profundidade, qual o papel da dupla de arquitectos na actualidade, quais os motivos que os levam a criar obras tão singulares tanto formalmente, como conceptualmente. Para o desenvolvimento deste trabalho, procurámos quais as suas influências e referências históricas, de modo a chegar a uma conclusão da importância dessas mesmas influências e referências nas suas obras. Os casos de estudo apresentados neste trabalho, servem como exemplo de obras referência dos arquitectos, bem como elementos estruturais no entendimento e ideia de uma base conceptual e formal do projecto apresentado no final do trabalho, desenvolvido por nós na disciplina de Projecto III.
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Books on the topic "Tate Gallery (Londen)"

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1942-, Wilson Simon, ed. Tate Gallery: Souvenir guide. London: Tate Gallery Publications, 1995.

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(Gallery), Tate Modern, ed. Tate Modern Guide. London: Tate Publishing, 2006.

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(Gallery), Tate Modern, ed. Tate Modern guide. London: Tate Pub., 2007.

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Gallery, Tate. Tate Gallery: An illustrated companion. London: Tate Gallery, 1989.

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Gallery, Tate. The Tate Gallery: Illustrated biennial report. London: Tate Gallery, 1988.

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Tate Gallery: Illustrated catalogue of acquisitions 1986-88. London: Tate Publishing, 1996.

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The Tate Gallery: An illustrated companion to the national collections of British & modern foreign art. 4th ed. London: Tate Gallery, 1987.

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Wagstaff, Sheena, Nicholas Serota, Frances Morris, Andrew Marr, and Michael Craig-Martin. Tate Modern: The handbook. 2nd ed. London: Tate, 2010.

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1793-1861, Danby Francis, Tate Gallery, and City of Bristol Museum and Art Gallery., eds. Francis Danby, 1793-1861. London: Tate Gallery in association with the City of Bristol Museum and Art Gallery, 1988.

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Gasworks to gallery: The story of Tate St Ives. St Ives, Cornwall: J. Axten and C. Orchard, 1995.

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Book chapters on the topic "Tate Gallery (Londen)"

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Dickens, Charles. "Chapter XXXVII More Warnings than One." In Dombey and Son. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536283.003.0038.

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Florence, Edith, and Mrs. Skewton, were together next day, and the carriage was waiting at the door to take them out. For Cleopatra had her galley* again now, and Withers, no longer the Wan, stood upright in a pigeon-breasted jacket and military...
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Schaefer, Sarah C. "The Message Is Seen." In Gustave Doré and the Modern Biblical Imagination, 162–210. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190075811.003.0005.

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Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”
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Abulafia, David. "Interlopers in the Mediterranean, 1571–1650." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0037.

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The period between the battle of Lepanto and the middle of the seventeenth century has a certain unity. Barbary pirates did not go away – indeed, they became more piratical, in the sense that the Ottomans allowed them a freer hand, for the Sublime Porte no longer expected to extend its direct authority deep into the western Mediterranean. The western Mediterranean was also exposed to vicious raids by Christian corsairs – to the Knights of Malta could now be added the Knights of Santo Stefano, Tuscan pirates and holy warriors whose order was founded in 1562 by the Medici duke of Tuscany. Like the Venetians, they brought some of the Ottoman banners back in victory from Lepanto; they still hang incongruously in their church in Pisa, daily proclaiming the faith of Islam amid the incense of Catholic ritual. It would be otiose to repeat the endless saga of attacks and reprisals as Christian Knights of Malta or Santo Stefano scored points against Barbary corsairs; the most unfortunate victims were always those who were carried away into slavery from the decks of captured merchant ships, or from the shores of Italy, Spain and Africa (the French were relatively immune to Muslim raiders as a result of their ties to the Ottoman court). Galleys out of Sicily continued to patrol the seas in the hope of defending the Spanish king’s Italian possessions from sea-raiders, but large-scale galley warfare had come to an end, not just because new ship-types were seen as more efficient but because the cost of building and maintaining galleys was prohibitive. Even so, the Ottomans reconstructed their war fleet in the immediate aftermath of Lepanto. There were alarums in the West: it was confidently assumed that the Ottomans would launch a second great assault on a Christian target. Yet the Sublime Porte had lost its taste for naval warfare, and was content to leave the Spaniards alone, while pursuing its traditional rivalry with the Shi’ite emperors of Persia. This was extremely convenient, since Spanish preoccupations also now turned away from the Mediterranean; Philip II’s great ambition was to defeat the new type of Infidel who was crawling all over northern Europe: the Protestants.
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