Issue 10 / Summer 2007
Content:
- Editors' Note
- Beate Söntgen on Interiors
- Jon Wozencroft on Joy Division's 'Unknown Pleasures'
- John Miller on Piero Manzoni's 'Merda d'artista'
- Ian Christie on Salvador Dalí
- Christopher Jones & José Montes Baquer on Dalí
- Roy Disney on Uncle Walt and Dalí
- Jonas Mekas on Salvador Dalí
- Stephen Daniels on Peter Blake and denim
- Roni Horn on Water
- Gilda Williams on Andy Warhol's Mother
- Vincent Katz on Hélio Oiticica
- Caetano Veloso on Hélio Oiticica in London
- Ernesto Neto, Marepe, Catherine Yass and Chris Dercon on Hélio Oiticica
- Oliver Sacks on Stereography
- Marina Warner on Maya Deren
- Martin Parr, Anna Pavord and others on Photographing Britain
- Nick Rosen, Peter Newman, Peter Peri and Tom Hodgkinson reflect on a work in the Tate Collection
- Paul Simmons in the Tate Archive
Roy Disney on Uncle Walt and Dalí
Salvador Dalí as film-maker? A strange idea to many who think that his involvement with the medium stretched to little more than playing consultant to Hitchcock on Spellbound. However, Dalí himself provides perhaps a definitive quote, “The most decisive moment in the production of a film is when you need the force of will to convince your producers that if this film is not made, the world, as we know it, will come to an end.” Roy Disney on the artist's collaboration with his Uncle Walt.
Salvador Dalí and Walt Disney at Dalí's home in Port Lligat, Spain 1957
© Disney Enterprises, Inc.
Martin Parr, Anna Pavord and others on Photographing Britain
To coincide with Tate Britain's photographic survey of Britain's social history, TATE ETC. asked a selection of writers, curators and photographers to reflect on some memorable images.
Vincent Katz on Hélio Oiticica
Hélio Oiticica’s Brazilian arts flourished in the 1950s, originating with the Modernist movement of the 1920s, and Oiticica became a barrier-smasher in this period.