TATE
Tate Papers aims to reflect the full range of scholarly research undertaken at Tate and to publish material that will be of value to the academic community and to general readers. The journal was launched in 2004 and is published in the spring and autumn of each year.
Articles are written by Tate staff, by contributors associated with Tate’s activities (for example, lecturers at conferences organised by Tate who are invited to submit material), and by authors who have written texts relating to Tate’s varied programmes and collection (British art from 1500 and international art from 1900). The subject areas include art history and theory, visual culture in general, conservation and all aspects of museum-related studies, including gallery education. The section ‘Reports and Talks’ publishes museum-related texts generated within Tate. Unlike the research articles, these articles are not subject to academic peer review but aim to offer information and insights of interest to the museum community.
Material is considered on the understanding that it is original and that any related material submitted or in press elsewhere is disclosed on submission. Tate Papers will consider republishing material first printed elsewhere if it relates well to the overall purposes of the journal and providing the necessary permissions are obtained.
Authors are responsible for the factual accuracy of their texts. It should be noted that the opinions expressed in articles published in Tate Papers are not endorsed necessarily by the Editorial Board, the Academic Advisory Committee, or by the Board of Trustees of the Tate Gallery.
If you would like to publish material in Tate Papers, please send it to the Editor:
Jennifer Mundy
Head of Collection Research
Tate
Millbank
London SW1P 4RG
+44 (20) 7887 8849
jennifer.mundy@tate.org.uk
The Tate Papers co-ordinator is Allie Biswas (Research Administrator, Tate Britain, Tel. +44 (20) 7887 4925, allie.biswas@tate.org.uk) who can be contacted for details about editorial procedures. Copyright is handled by Caroline Arno, Tate Media Copyright Assistant (caroline.arno@tate.org.uk).
There is an Editorial Board, comprising:
Marko Daniel, Curator: Public Programmes, Tate Modern
Stephen Hackney, Head of Conservation Science
Jennifer Mundy, Head of Collection Research
Victoria Walsh, Head of Adult Programmes, Tate Britain
There is also an Academic Advisory Committee, comprising:
Professor Dawn Ades, Department of Art History and Theory, University of Essex
Dr Bernadette Buckley, Lecturer, Politics Department, Goldsmiths, Univerity of London
Dr Aviva Burnstock, Reader, Department of Conservation and Technology, Courtauld Institute of Art
Dr David Lomas, Department of Art History and Visual Studies, University of Manchester
Dr Tom Learner, Senior Scientist for Contemporary Art, Getty Conservation Institute
Jacqueline Ridge, Keeper of Conservation, Scottish National Gallery of Modern Art
All research articles will be peer reviewed by one or more specialist readers chosen by the Editor, and accepted only if judged of a suitable standard and relevant to the aims of Tate Papers.
Please note that it is the responsibility of the author to ensure that the article conforms to house style (see Style Guidelines below). The author should attach or send images (either transparencies or jpegs) with the article, and should send copies of any completed copyright licence agreements (see below) to the Tate Media Copyright Assistant, Caroline Arno (caroline.arno@tate.org.uk).
Articles typically range from 4,000 to approximately 8,000 words. They should be written in UK English, single-spaced throughout, presented in 12 point Times New Roman (including headings, endnotes and captions), and submitted as Word attachments to emails.
Please see examples of recent articles in Tate Papers for guidance about how to present material. Please note, however, that Tate Papers appears on-screen in a layout that conforms to web presentation but has a separate print version that is closer in style to a journal presentation (for example, it will print in Times New Roman font).
The Word document should have:
Titles and subheadings
Follow the normal rules of capitalisation for
the main title but for subheadings give initial letters only to the first
word.
Indentations
The first line and subsequent beginnings of
sections should not be indented. All other paragraphs, however, should
be indented using the tab bar. They should not be separated by a blank
line. Do not use Body Text formatting for indented quotations, just the
left hand tab key.
Quotations
Use single quotations marks throughout, and
double quotation marks only for quotations within quotations.
Longer quotations (over 60 words) should appear as an indented block without quotation marks (use the standard tab key for all indentations).
Breaks in a quotation should be signalled by an ellipsis (three points) with a space before and after. Do not use an ellipsis at the beginning or end of a quotation. All quotations should have an endnote giving the source.
Punctuation
At the end of sentences full points should be
followed by only one space, not two.
Please note the lack of a space in the following examples: p.21, no.2, vol.2.
Do not use full points with contractions and acronyms (for example, MoMA, St, Dr, UK). Do not employ apostrophes with 1870s, 1920s etc. For clarity please use, for example, '1920s' rather than the word 'twenties'.
Contractions take no full point but abbreviations do (e.g. ed., vol., vols., trans.)
Spelling
Use -ise rather than -ize endings; focused rather
than focussed.
Foreign words
Non-English words and phrases in common usage
should be in ordinary type: only italicise words that are not common or
in an inaccessible language. The term c. (circa) does not need to be italicised, and should not be followed by a space, e.g. c.1880.
Dates and numbers
Follow these patterns: 25 October 1881; in the
nineteenth century (not 19th C). Please note the use of the hyphen in
such adjectival phrases as ‘twentieth-century art’. Note all numbers up
to 100 should be written in words, not figures, unless they are measurements.
References
Please use endnotes only (not footnotes, bibliographies
or lists of works cited).
Endnote numbers within the main body of the text should follow punctuation marks (comma or full stop). They should be superscript figures, which link electronically to the endnote, not static figures.
For books, it is not essential to credit the publisher, only the place of publication; but if the publisher's name is given, it should follow the final example below. Please see these models:
Please note: titles of articles or essays in volumes or journals follow the normal rules of capitalisation for titles, even if the titles are long.
For references to previously cited material, use Ibid. for a reference to the source given in the preceding footnote but avoid other Latin terms such as op. cit, loc. cit. To refer to a source mentioned other than in the immediately preceding reference, give the author’s last name and date, or, where this avoids ambiguity, author's last name, shortened version of title and date (e.g. Lindsay and Vergo (eds.), Kandinsky: Complete Writings on Art, 1982, p.345).
A full list of intended images, together with full caption details, should be sent to the Editor along with the text. Once the article has been accepted for publication, and a final list of illustrations approved, the author and Copyright Assistant will need to liaise closely about securing copyright agreements.
Images should be sent as jpegs to the Editor or Copyright Assistant. Please supply at high resolution (2MB constitutes a reasonable size). Ideally all images should be submitted by the time a final draft of the Paper has been agreed.
Restraint in both the number and cost of copyrighted illustrations to be included is appreciated. Only the most essential copyrighted images should be requested. The Editor may need to reduce the number of requested images if the images either too costly or too difficult to obtain, but of course will do so in discussion with the author.
In the text illustrations should be referred to thus: (fig.1) (note no capital letter and no space).
For the captions to accompany illustrations, please follow this model:
Fig.1
Doris Salcedo
Umland: Audible in the Mouth 1998
Wood, thread and hair
80 x 75 x 31.5cms
Presented by the Patrons of New Art through the Tate Gallery Foundation 1999
© Doris Salcedo
Please note that the information, text and images included in Tate Papers are protected by the Copyright Designs and Patents Act 1988, as amended in 2003 (see Tate's approach to copyright). With the exception of fair dealing for the purpose of research or private study, criticism or review, where the appropriate acknowledgement must be given, no part of the contents of Tate Papers may be reproduced, stored or transmitted in any form or by any means without the prior permission in writing from the copyright holder.
Copyright of articles written by Tate staff in work time is vested in Tate, but this is typically waived if authors wish to publish the material elsewhere. External authors retain copyright of their work. In both cases, authors are free to republish the material elsewhere providing acknowledgement that the article was first published in Tate Papers is made.
It is straightforward to reproduce Tate works in an article where Tate has already secured permission to reproduce the work on the website. (Internal authors may wish to check the copyright status of particular works or artists by consulting Tate's copyright database under eResources on TateNet.) The Copyright Assistant will assist external authors in addressing copyright of Tate works. For Tate works where no copyright agreement exists as yet, the Copyright Assistant will help secure copyright agreements for both the article in question and for the use of the image elsewhere on the website.
For works not in Tate’s collection, please note that a range of copyrights may apply:
The author, who can seek guidance from the Copyright Assistant about any queries he or she may have, is expected to secure the necessary written/emailed permissions.
When contacting copyright holders verbally or in writing, it is helpful to emphasise that Tate Papers is a non-commercial educational resource that is freely available to all on Tate's website. You should explain the need for the illustration and should ask if the copyright holder would be willing to sign a licence agreement, ideally for indefinite use and with no fee. Some copyright owners will charge a fee. In such cases you will need to discuss the costs with the Editor or the Copyright Assistant in order to ensure that the sums in question are affordable. Commercial picture libraries will rarely reduce their fees for Tate Papers, and where possible alternative source of images should be sought.
Copies of all correspondence and the permissions themselves should be given to the Copyright Assistant on submission of the final version of the article.