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Tim Batchelor

Exhibitions and Displays, Tate Britain

Publications:
'Chronology', in Allen Staley and Christopher Newall (eds.), Pre-Raphaelite Vision: Truth to Nature, exhibition catalogue, Tate Britain, 2004, pp.248-54.
Art Now: Matt Franks, exhibition leaflet, Tate Britain, 2002, 6pp.

Current Projects:
Contributor to Augustus and Gwen John exhibition catalogue, Tate Britain (2004); research on art and the English Civil War for display and publication.

Lizzie Carey-Thomas

Exhibitions and Displays, Tate Britain

Publications:
'Keith Tyson' and 'Catherine Yass' in Turner Prize 2002, exhibition broadsheet, Tate Britain 2002, 14pp.
Art Now: Ian Kiaer, exhibition leaflet, Tate Britain, 2003, 6pp.
Art Now: Be Angry But Don't Stop Breathing: Mark Titchner, exhibition leaflet, Tate Britain, 2003, 6pp.
With Mary Horlock and Katharine Stout, Art Now Lightbox at Tate Britain: Artists' Film and Video Programme, exhibition leaflet, Tate Britain, July 2003, 6pp.
'Jake & Dinos Chapman', in Turner Prize 2003, exhibition broadsheet, Tate Britain, 2003, 14pp.
'Jim Lambie' in Judith Nesbitt and Jonathan Watkins (eds.), Days Like These: The Tate Triennial of Contemporary British Art, exhibition catalogue, Tate Britain, 2003, p.100.

Current Projects:
Contributor to Art & the 60s: This Was Tomorrow, exhibition catalogue, Tate Britain (2004); Art Now: Claire Barclay, exhibition leaflet, Tate Britain (2004); with Mary Horlock and Katharine Stout, Art Now Annual, Tate Publishing (2004); Turner Prize 2004, exhibition broadsheet, Tate Britain (2004); short texts on Liam Gillick, William Tucker, Bill Woodrow, Alison Wilding and Robert Morris; Art Now Lightbox, artist's film and video programme; Richard Hamilton in-focus display, Tate Britain (2004); co-curating group exhibition of new British art to take place in East London (2004).

Mary Horlock

Exhibitions and Displays, Tate Britain

Publications:
'Tra-la-la British Sculpture in the Sixties', in Iwona Blazwick and Andrea Tarsia, Early One Morning: British Art Now: Shahin Afrassiabi, Claire Barclay, Jim Lambie, Eva Rothschild, Gary Webb, exhibition catalogue, Whitechapel Art Gallery, London 2002, pp.38-48.
Contributor to Self Evident: The Artist as the Subject 1969-2002, exhibition broadsheet, Tate Britain 2002, 15pp.
With Heidi Reitmaier and Simon Schama, 'The Story So Far', in Anya Gallaccio: beat, exhibition catalogue, Tate Britain, 2002, pp.11-17.
Contributor to Self Evident: The Artist as the Subject 1969-2002, exhibition broadsheet, Tate Britain, 2002, 15pp.
'About this Book: Wolfgang Tillmans in Conversation with Mary Horlock', in Wolfgang Tillmans: If One Thing Matters, Everything Matters, exhibition catalogue, Tate Britain, 2003, pp.303-7. With Lizzie Carey-Thomas and Katharine Stout, Art Now Lightbox at Tate Britain: Artists' Film and Video Programme, exhibition leaflet, Tate Britain, July 2003, 6pp.
Art Now: Lucy McKenzie: MMIV, exhibition leaflet, Tate Britain, September 2003, 6pp.
'Interview with Jane and Louise Wilson,' in Jane and Louise Wilson, exhibition catalogue, Centro de Fotografia, Salamanca 2003, pp.68-81.
Art Now Nigel Cooke, exhibition leaflet, Tate Britain, February 2004, 6pp.
'The Physical Power of Sound: An Interview with Susan Hiller', in Jim Drobnick (ed.), Aural Cultures, YYZ Books & Walter Philips Gallery Editions, Banff Centre, 2004.
'Between a Rock and a Soft Place', in Mark Sladen (ed.), Helen Chadwick, exhibition catalogue, Barbican Art Gallery, London 2004, pp.33-46.

Lectures:
'British Sculpture Then and Now', with Andrea Tarsia, Whitechapel Art Gallery, 2002. 'Helen Chadwick's Art Reconsidered', The Changing Tide: The Art of Helen Chadwick and Sarah Lucas symposium, Barbican Centre and Tate Britain, 2004.

Current Projects:
With Lizzie Carey-Thomas and Katharine Stout, Art Now Annual, Tate Publishing (2004); text with Jane and Louise Wilson for future Film and Video Umbrella/Baltic publication; Turner Prize 2004, exhibition broadsheet, Tate Britain (2004); Art Now and Art Now Lightbox programme.

Carolyn Kerr

Exhibitions and Displays, Tate Britain

Publications:
Art Now: Roger Horns, exhibition leaflet, Tate Britain 2003, 6pp.

Martin Myrone

Exhibitions and Displays, Tate Britain

Publications:
George Stubbs, Tate Publishing, London 2002, 80pp.
Edited, with Michael Rosenthal, Thomas Gainsborough, exhibition catalogue, Tate Britain 2002, 296pp.
With Michael Rosenthal, 'Thomas Gainsborough: Artist of a Changing World', History Today, 52 (11) November 2002, pp.16-23.
'William Granville Hastings', in Penelope Curtis (ed.), Sculpture in 20th-Century Britain. Volume 2: A Guide to the Sculptors in the Leeds Collections, Henry Moore Institute, Leeds 2003.
Review: 'William Vaughan, Thomas Gainsborough', Burlington Magazine, no.144, 2002, pp.564-5.

Lectures:
'Putting Gainsborough on Display', Viewing Art series, University of Leicester, November 2002. 'The Culture of Luxury', Gainsborough and the Birth of Modernity conference, Tate Britain, December 2002.
'Biography as Art History: Writing the British School 1790-1830', Regarding the Regency: The Possibilities of Portraiture in the 'Age of Personality' conference, National Portrait Gallery, London, October 2003.
'Of Men, Mohawks and Macaroni: The Vauxhall Affray Revisited', Romantic Realignments seminar, University of Oxford, October 2003.

Other:
Member of editorial advisory board Immediations: The Research Journal of the Courtauld Institute of Art.
External examiner, Ph.D. Thesis, University of Warwick 2004.
External moderator, Faculty of Continuing Education, Birkbeck College.

Current Projects:
Article 'Gothic Romance and the Quixotic Hero', for Tate Papers (2004); essay 'William Weddell's Grand Tour' for Giles Worsley (ed.), Newby Hall, Leeds City Art Gallery (2004); review 'Sculpture and the Two Art Histories' for Oxford Art Journal (2004); research on the Gothic and the visual arts 1770-1830, for the Tate Britain exhibition (2006); book project: Body-Building: Reforming Masculinities in British Art 1760-1800; research on antiquarian printmaking 1750-1850 for the Society of Antiquaries tercentenary volume (2006).

Judith Nesbitt

Exhibitions and Displays, Tate Britain

Publications:
Edited with Jonathan Watkins, Days Like These: Tate Triennial Exhibition of Contemporary British Art 2003, exhibition catalogue, Tate Britain 2003, 160pp., including essay 'On Being Sane in Insane Places', pp.16-21.

Current Projects:
Co-editor of Michael Landy, Semi-detached, Tate Britain (2004), with essay 'Everything Must Go'.

Catherine Pütz

Exhibitions and Displays, Tate Britain

Publications:
Jacques Lipchitz: The First Cubist Sculptor, Lund Humphries and Paul Holberton Publishing, London, 2002, 128pp.
'Blueprints for Sculpture. Lipchitz on Paper', Lipchitz Drawings, exhibition catalogue, IVAM, Valencia 2002, pp.10-31; republished for the exhibition at Museo de Bellas Artes de Bilbao, 2003, pp.13-55.
'Michael Kenny' entry in Penelope Curtis (ed.), Sculpture in 20th-Century Britain. Volume 2: A Guide to the Sculptors in the Leeds Collections, Henry Moore Institute, Leeds 2003, pp.187-8.
'Jacques Lipchitz', 'Henri Laurens', 'Raymond Duchamp-Villon', entries in Antonia Boström (ed.), The Encyclopedia of Sculpture, Routledge, New York and London 2003.
Jacques Lipchitz Plasters: The IVAM Donation, IVAM, Valencia 2004.

Christine Riding

Exhibitions and Displays, Tate Britain

Publications:
Contributor to Michael Rosenthal and Martin Myrone (eds.), Gainsborough, exhibition catalogue, Tate Britain, 2002.
'The Fatal Raft: British Reactions to the Shipwreck of the Medusa' in History Today, February 2003, pp.38-44.
Edited, with Patrick Noon, Constable to Delacroix: British Art and the French Romantics, exhibition catalogue, Tate Britain 2003.
'"That Insatiable Desire to Create": Byron and Romantic Painting in France and Britain', in The Newstead Byron Society Review, January 2004, pp.31-9.
'Old Masters and Edwardian Society Portraiture', in Anna Gray (ed.), The Edwardians: Secrets and Desires, exhibition catalogue, National Gallery of Australia, Canberra 2004, pp.73-87.

Lectures:
'Chivalry and Victorian Gentlemen', The Art of Chivalry: Victorian Art and the Middle Ages conference, Tate Britain, May 2002.
'The Fatal Raft: Gericault's Interpretation of the Medusa Shipwreck Narrative', Travellers and Text seminar, Trinity College, Oxford University, October 2002.
'Painted Ladies: The Portrayal of Actresses and Courtesans in the Eighteenth-Century', National Trust Study Day, Waddesdon Manor, October 2002.
'Gainsborough and Portraiture', Face to Face Across the Channel: English and French Portraiture course, Tate Britain and the National Gallery, London, November 2002.
'From Constable to Delacroix: Franco-British Cultural Interchange, 1820-1840', Richard Parkes Bonington conference, University of Nottingham, November 2002.
'"The Aura of Sacred Mystery": Coronations in Eighteenth- and Nineteenth-Century British Art', Patronage and Coronations seminar, Handel House Museum, London, March 2003.
'Exhibiting Ambitions: British Art and the Foundling Hospital', 'The Purest Benevolence': Handel and the Foundling Hospital study day, Handel House Museum, London, March 2003.
'The Fatal Raft: British Reactions to the Shipwreck of the Medusa', National Portrait Gallery, London, April 2003.
'In Extremis: Gericault's Raft of the Medusa', A Close Relationship: French Romantics and British Art course, Tate Britain and National Gallery, London, May 2003.
'Staging the Raft of Medusa: The Picture, the Panorama and the Play', Romantic Realignments seminar, University College, Oxford University, May 2003.
'Sensation and Schadenfreude: The British and the Medusa Shipwreck', Shipwreck: Disasters at Sea in the Romantic Era symposium, Tate Britain, May 2003.
'Exhibition as Spectacle: Gericault's Raft of the Medusa in London', Crossing the Channel lecture series, Minneapolis Institute of Art, Minneapolis, July 2003.
'"Only Suffering is Real": Don Juan and the Raft of the Medusa', International Byron Conference, University of Liverpool, August 2003.
'The Shipwreck of the Medusa: Race, Society and National Identity', British Maritime History Seminars, National Maritime Museum and the Institute of Historical Research, London, November 2003.
'Old Masters and Edwardian Portraiture: Gainsborough's Blue Boy', keynote lecture in The Edwardians symposium, National Gallery of Australia, Canberra, March 2004.
'"Of Tempests and Dangers of the Deep": Shipwreck and the English Coast', Our English Coast: Artists' Views of the British Coastline study day, Tate Britain and Open Museum/National Maritime Museum, London, March 2004.
'The Tyranny of White: Denoting Modernity in Exhibition Design', Choices and Change in Exhibitions, Association of Art Historians Conference, University of Nottingham, April 2004.

Other:
Member of the Executive Council of the Association of Art Historians.

Current Projects:
Article '"If there is any certainty on earth, it is our pain, only suffering is real": Don Juan and the Raft of the Medusa', Byron Society Journal (2004/5); article 'Staging the Raft of the Medusa: Painting, Play, Panorama', Visual Culture in Britain (2004); John Everett Millais, Tate Publishing (2005).

Alison Smith

Exhibitions and Displays, Tate Britain

Publications:
Edited The Victorian Nude: Morality and Art in Nineteenth-Century British Art, exhibition catalogue, Kobe City Museum and University Art Museum, Tokyo, 2003, including catalogue entries and essay, 'Moral Responses to the Victorian Nude', pp.226-30.
'La Morale e il nudo nell'arte dell'eta vittoriana', in Il Nudo, exhibition catalogue, Museo d'Arte Moderna, Bologna 2004, pp.266-72.
Catalogue entries and essay 'The Enfranchised Eye', in Allen Staley and Christopher Newall (eds.), The Pre-Raphaelite Vision: Truth to Nature, exhibition catalogue, Tate Britain 2004, pp.11-21.
'G.F. Watts and the National Gallery of British Art', in Colin Trodd and Stephanie Brown (eds.), Representations of G.F.Watts: Art Making in Victorian Culture, Ashgate, Aldershot 2004, pp.153-68.
'Revival and Reformation: The Aims and Ideals of the Pre-Raphaelite Brotherhood'. in Joyce Townsend, Jacqueline Ridge and Stephen Hackney (eds.) Pre-Raphaelite Painting Techniques, Tate Publishing, London 2004, pp.9-19.

Lectures:
'The Morality of Rocks: Geological Ethics in Pre-Raphaelite Landscape', Pre-Raphaelitism and Science conference, Tate Britain, March 2004.
'The Case Broadsheets: A Collaboration of Artists and Writers', Welsh Artists and Writers conference, Gregynog Hall, March 2004.

Current Projects:
Essay 'The Symbolic Vision of G.F. Watts', for Veronica Franklin Gould (ed.), Visions of G.F. Watts, Watts Gallery, Compton (2004); essay 'Modelling Godiva in the Nineteenth Century', for Jane Desmaris, Martin Postle and William Vaughan (eds.) Models and Supermodels, Manchester University Press, Manchester and New York (2004); research for Millais exhibition at Tate Britain (2008).

Chris Stephens

Exhibitions and Displays, Tate Britain

Publications:
With Miranda Phillips, Barbara Hepworth Sculpture Garden, Tate Publishing, London 2002, 48pp.
Anthony Benjamin, Hope Sufferance Press, London 2002, 48pp.
'Ben Nicholson: Modernism, Craft and the English Vernacular', in David Peters Corbett, Ysanne Holt, Fiona Russell (eds.), The Geographies of Englishness: Landscape and the National Past 1880-1940, Yale University Press, New Haven and London 2002, pp.225-47.
'"We Are the Masters Now": Modernism and Reconstruction in Post-War Britain', in Blast to Freeze: British Art in the 20th Century, Kunstmuseum Wolfsburg 2002, pp.133-8; republished as 'Dèsormais nous sommes les maîtres', in L'Art Britannique au XXe Siècle, Les Abattoirs, Toulouse 2003, pp.47-52.
Edited Barbara Hepworth: Centenary, exhibition catalogue, Tate St Ives 2003, 160pp; including essay '"The Quality of Human Relationships"', pp.30-6.
'On the Beach: Art, Tourism and the Tate St Ives', in Michaela Giebelhausen (ed.), The Architecture of the Museum: Symbolic Structures, Urban Contexts, Manchester University Press, Manchester and New York 2003, pp.108-24.
'"A Sense of Something Beyond Ourselves": Reintroducing Trevor Bell', in Trevor Bell: A British Painter in America, Florida State University Museum of Fine Arts Press 2003, pp.43-5.
'The Identity of the Sculptor 1950-75', in Penelope Curtis (ed.), Sculpture in 20th-Century Britain. Volume 1: Identity, Infrastructures, Aesthetics, Display, Reception, Henry Moore Institute, Leeds 2003.
'Hubert Dalwood' in Penelope Curtis (ed.), Sculpture in 20th-Century Britain. Volume 2: A Guide to the Sculptors in the Leeds Collections, Henry Moore Institute, Leeds 2003, pp.64-6.

Lectures:
'Displaying British Art', Histories of British Art: Where Next?, conference, Yale Center for British Art, New Haven, November 2002.

Other:
Member of advisory board of National Life Story Collection: Artists' Lives, British Sound Archive at British Library; member of editorial advisory board Visual Culture in Britain.

Current Projects:
Co-curator and co-editor of catalogue for Art & the 60s: This was Tomorrow, Tate Britain (2004); article on Barbara Hepworth's materials for IVAM, Valencia (2004); article on Trevor Bell for Tate St Ives catalogue (2004); co-curator and catalogue contributor, Gwen John & Augustus John, Tate Britain (2004); book project St Ives: A Critical History.

Katherine Stout

Exhibitions and Displays, Tate Britain

Publications:
'Liam Gillick' and 'Fiona Banner', in Turner Prize 2002, exhibition broadsheet, Tate Britain 2002, 14pp. Contributor, Self Evident: The Artist as the Subject 1969-2002, exhibition broadsheet, Tate Britain 2002, 15pp.
Co-edited Drawing on Space, exhibition catalogue, The Drawing Room, London 2002, 79pp., including 'Spaces Traversed', pp.10-13.
'Interview: Katharine Stout in Conversation with Ori Gersht', in Afterglow: Ori Gersht, exhibition catalogue, Tel Aviv Museum of Art, 2002, pp.137-43.
'Paul Noble' and 'George Shaw', in Judith Nesbitt and Jonathan Watkins (eds.), Days Like These: The Tate Triennial of Contemporary British Art, exhibition catalogue, Tate Britain 2003, pp.116, 138.
Art Now: Ori Gersht, exhibition leaflet, Tate Britain 2003, 6pp.
Art Now: Zarina Bhimji, exhibition leaflet, Tate Britain 2003, 6pp.
Art Now: David Musgrave, exhibition leaflet, Tate Britain 2003, 6pp.
Art Now: Muntean/Rosenblum, exhibition leaflet, Tate Britain London 2003, 6pp.
With Mary Horlock and Lizzie Carey-Thomas, Art Now Lightbox at Tate Britain: Artists' Film and Video Programme, exhibition leaflet, Tate Britain, July 2003, 6pp.
'Grayson Perry', in Turner Prize 2003, exhibition broadsheet, Tate Britain 2003, 14pp.
With Helen Legg and Kate MacFarlane, A Kind of Bliss, exhibition catalogue, The Drawing Room, London 2004, 28pp.
'Only what can be seen there is there', in Martin Creed, exhibition catalogue, Centre for Contemporary Art, Warsaw, 2004.

Lectures:
'Turner Prize', University of Essex, 2003. 'Turner Prize', Goldsmith's College, University of London, 2003.
'Martin Creed', Centre for Contemporary Art, Warsaw, April 2004.
Advisor for the charity Paintings in Hospitals 2003.

Current Projects:
Co-curator and co-editor of Art & the 60s: This was Tomorrow, exhibition catalogue, Tate Britain (2004); with Lizzie Carey Thomas and Mary Horlock, Art Now Annual, Tate Publishing (2004).

Rachel Tant

Exhibitions and Displays, Tate Britain

Publications:
'Chronology' in Patrick Noon (ed.), Constable to Delacroix: British Art and the French Romantics, exhibition catalogue, Tate Britain 2003, pp.38-43.
'Anya Gallaccio' in Turner Prize 2003, exhibition broadsheet, Tate Britain 2003, 14pp.

Current Projects:
Contributor to Art & the 60s: This was Tomorrow, exhibition catalogue, Tate Britain (2004); exhibition broadsheet Turner Prize 2004; research on Anthony Caro for Tate Britain exhibition and catalogue (2005).

Ben Tufnell

Exhibitions and Displays, Tate Britain

Publications:
Cedric Morris and Lett Haines: Teaching Art and Life, exhibition catalogue, Norwich Castle Museum/National Museums and National Museum and Gallery of Wales, Cardiff 2002, 112pp.
'Miles and Miles and Miles of Desolation', in On The Edge, exhibition catalogue, North Norfolk Exhibitions Project 2002.
Review: 'Dear Painter, Paint Me: Painting the Figure since Late Picabia', Contemporary, 43, September 2002, pp.90-1.
Review: 'Art + Mountains: Conquistadors of the Useless', Contemporary, 46, December 2002, pp.81-2.
Review: 'Great Piece of Turf', Contemporary, 50, May 2003, p.83.
'Gillian Carnegie', 'Dexter Dalwood', 'Ian Davenport', 'Peter Doig', 'Richard Hamilton', 'Tim Head', 'Susan Philipsz' in Judith Nesbitt and Jonathan Watkins (eds.), Days Like These: The Tate Triennial of Contemporary British Art, exhibition catalogue, Tate Britain 2003, pp.48, 64, 70, 80, 90, 96, 128.
'Willie Doherty', in Turner Prize 2003, exhibition broadsheet, Tate Britain 2003, 14pp.
With Frank Whitford, Karl Weschke: Beneath a Black Sky: Paintings and Drawings 1953-2004, exhibition catalogue, Tate St Ives 2004, 48pp.

Lectures:
'Highly Inspired: Art and Mountains', panel discussion, Alpine Club London, October 2002. 'Cedric Morris', Norwich Castle Museum, December 2002, and National Museum and Gallery of Wales, Cardiff February 2003.
'The Portraits of Cedric Morris', Cedric Morris symposium, National Museum and Gallery of Wales, April 2003.

Current Projects:
'Colin Self, Gustav Metzger and The Bomb', in Art & and the 60s: This Was Tomorrow, exhibition catalogue, Tate Britain (2004); 'Fragments and Inscriptions', 'Barbara Hepworth's Garden', 'Patrick Heron's Garden', 'Ivon Hitchens's Garden' and 'Cedric Morris's Garden' in Art of the Garden, exhibition catalogue, Tate Britain (2004); Jane Dixon: Under False Colours, exhibition catalogue, Djanogly Art Gallery, Nottingham (2004); Art Now, exhibition programme 2004-6; A History of the Porthmeor Studios, St Ives Research Series (2005); Prunella Clough, Tate Britain exhibition (2006); Land Art, Tate Publishing (2006).

Clarrie Wallis

Exhibitions and Displays, Tate Britain

Publications:
'Sarah Morris', Form Specific, exhibition catalogue, Moderna Galerija, Ljubljana 2003.
'David Batchelor', 'Richard Deacon', 'Cornelia Parker' and 'Rachel Whiteread' in Judith Nesbitt and Jonathan Watkins (eds.), Days Like These: Tate Triennial Exhibition of Contemporary British Art 2003, exhibition catalogue, Tate Britain 2003, pp.42, 74, 122, 144.
With Gregor Muir, In-A-Gadda-Da-Vida, exhibition catalogue, Tate Publishing, London 2004, 112pp.
'Interview with David Batchelor', in Shiny Dirty, Ikon Gallery, Birmingham, 2004, pp.40-5.

Other:
Taught on Sotheby's MA in Contemporary Art.

Current Projects:
Research on St Martin's 'Sculpture: A Course' for display and publication.