Issue 14 / Autumn 2008
Content:
- Editors' Note
- Carter Ratcliff on Mark Rothko
- Brice Marden on Mark Rothko
- Beat Wyss on Caspar David Friedrich
- Penelope Curtis on Dominique Gonzalez-Foerster
- Linda Nochlin, Milan Kundera and others on Francis Bacon
- Peter Campus, Douglas Gordon and David A Ross in conversation
- Sophie Howarth on The School of Life
- Francesca Pasini on Lucio Fontana
- Cildo Meireles and Frederico Morais
- Simon Grant interviews Robert Morris
- Mark Godfrey on Cildo Meireles
- Lucy Skaer on Leonora Carrington
- Heimo Zobernig, Tim Lee, David Shrigley and Kay Rosen
- Tishani Doshi in the Tate Archive
- Online Exclusive: Peter Campus
- Gustav Klimt and the 1908 Kunstschau
Linda Nochlin, Milan Kundera and others on Francis Bacon
To coincide with the Bacon retrospective at Tate Britain, we bring together a mix of writers, museum directors, artists, musicians and film-makers - some of whom knew him and some who came to his work through art books or exhibitions - to pay homage.
Francis Bacon's studio with his last painting, possibly the beginnings of a portrait of George Dyer, on the easel, photographed
by Perry Ogden in 1992
Hugh Lane Gallery © The Estate of Francis Bacon, all rights reserved, and DACS, 2008
Carter Ratcliff on Mark Rothko
Rothko believed he was "producing an art that would last for 1,000 years". It was a sentiment that was in stark contrast to the new, brash, secularised art emerging in New York in the 1960s.
Francesca Pasini on Lucio Fontana
Fontana saw his work as a classic representation of what he called "a spatial environment" and described it as "a new element which has entered into the aesthetic of the man on the street." As a recently renovated version of his 1951 neon goes on display in the same building in which it was first seen, Pasini explores its making, meaning and legacy.