TATE
Nahnou-Together is a partnership programme involving art museums and an informal art school, in Amman, Damascus and London. This paper examines the structure, methods and progress of the programme, looking at learning from theory and practice, museums as sites of authority or participation, and individuals taking artistic, managerial, professional and amateur roles as they negotiate between institutions.
This paper explores Picasso’s approach to sculptural materials during the Cubist years through a close examination of his 1914 construction Still Life. Made from partly recycled and partly carved wooden elements, the table-top scene reveals the artist’s control of his techniques and materials.
This paper explores the relationship between art practice and dialogic forms of gallery education. Drawing on interviews with selected artists, the text examines these practitioners’ constructions of art practice and their perceptions of how they engage with learners. The findings from this research illuminate the opportunities afforded by artist-led teaching and learning, whilst drawing attention to some of the challenges.
Many contemporary artists operate beyond the studio and traditional exhibition spaces, providing both a need and an opportunity for galleries and museums to develop new models for the production and presentation of such work. Drawing on recent practice at the Serpentine Gallery, London, this paper explores some of these issues, and argues for an integrated approach to programming.
In the early 1990s Nancy Spero (born 1926) composed a series of homages to the Cuban artist, Ana Mendieta (1948–1985). These works recreated a performance by Mendieta which Spero had witnessed in 1982. Using this encounter as a lens, the article examines how these two artists share a feminist strategy of self-representation.
How did the public respond to the Reading Room in the 2008 Turner Prize exhibition? This report suggests ways in which the purpose and design of the room should be reconsidered in the future.
An in-depth audience survey for Tate Modern’s Rothko exhibition (September 2008 – February 2009) shows how visitors used the educational material provided. The report suggests how interpretation material can be better tailored to suit the needs of specific sections of the visitor demographic in future projects.