Tate Britain

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30 Years of The Turner Prize: 10 Most Notorious Entries

by ArtSlant Team
It's Turner Prize time again. Britain’s most hated art award celebrates its 30th year this year. What has it achieved in over three decades? For one thing – its brought contemporary British art to the public attention – mostly to be lampooned by the tabloids. Who can forget headlines surrounding Tracey Emin’s winning entry My Bed (dubbed ‘My Turd’ by Private Eye) or the fury roused by Damien Hirst’s formaldehyde tiger shark entry in 1992? The “national joke” has provoked walk outs and... [more]
Posted by ArtSlant Team on 10/19/14

Anything But Common: The Amassed Wonders of British Folk Art

by Marianne Templeton
begins with a disclaimer—customary for surveys of this sprawling, nebulous field—regarding the sheer breadth of ground to be covered, the impossibility of neat or comprehensive classifications, and even the inadequacy of the term "folk art" itself.  For exhibitions that draw together art and anthropology, this preliminary airing of curatorial anxieties—and simultaneous disavowal of rigid cataloguing systems—has almost become a ritual in itself. Hence, it seems a fitting start for a show that... [more]
Posted by Marianne Templeton on 7/31/14

Art Under Attack: In Transitu

by Philippa Snow
"I have never met anyone who was shocked by our work, or even talked to anyone who had met anyone who was shocked by it." – Jake Chapman, 2006.   In the Tate's , there is a sculpture whose presence may yet provoke the most lapsed of Catholic art-appreciators to sweat from their closed-up stigmata: this life-sized Christ – a quadruple amputee, the stumps of whose limbs (in their raw, textured marble) suggest the interior of some slab of whitening meat, whose eyes are closed and whose mouth... [more]
Posted by Philippa Snow on 1/6/14

The Reluctant Pop Artist

by Char Jansen
Pop Art’s influence on art happening now is epic. It is the aesthetic that seems to most suit the digital age, with our predilection for simple, bold graphics and bright, high impact colours, artists and designers all over are mining the archives for new visual references from an era that changed art forever.   Patrick Caulfield, , 1973;  Collection David Bowie © The estate of Patrick Caulfield.  All Rights Reserved, DACS 2013.   But Patrick Caulfield wasn’t really happy about Pop Art. In... [more]
Posted by Char Jansen on 8/27/13

Turner Prize 2012: Last chance to place your bets…

by Adriana Caneva
I don’t know about you, but November has rushed passed me with the speed of a slap in the face, and I am ready to bet that this coming month will be no different. The 3rd of December is already here, and with it will come news of this year’s Turner Prize winner, announced tonight in a live broadcast from Tate Britain. For those of you who have yet to see the show for yourselves, now is your last chance to place your bets before the jury announces its verdict. With last year’s edition taking... [more]
Posted by Adriana Caneva on 12/3/12


by Phoebe Adler
Picasso’s influence upon Modern art is something that goes without saying, the impact of his career not only visible throughout the Modern period, but continuing well into the Contemporary. Tate Britain’s current exhibition Picasso and Modern British Art is a carefully considered look at how the late artist came to shape British art, presenting works by the artist shown and collected in Britain, interwoven with studies on how he came to influence the work of seven of the country’s best-known... [more]
Posted by Phoebe Adler on 2/24/12

Turner Twilight

by Matthew Miles
    The Turner Prize 2010 was launched with a party at Tate Britain, London. WE love our parties... As usual, the night was an exclusive preview for art industry players and collectors of the four artists up for this year's award.Mingling under the arches and fighter jets of the main halls Fiona Banner’s war planes (a long-term exhibit at the gallery), the invited few hundred declared their favourites in hushed tones (kind of essential when the artist might be lurking over your shoulder). ... [more]
Posted by Matthew Miles on 10/20/10

Rachel Whiteread: Drawings

by Joyce Cronin
        Rachel Whiteread is not considered a ‘feminist artist’. Her work is not overtly issue-based or forcefully political, but there is an underlying feminism and political influence there. Without wishing to essentialise the work, her interest in materialising the unseen, making the private public and her domestic and familial influences resonate with the issues faced by women past and present. Likewise, the act of drawing can often be seen as secondary to an artist’s practice, treated... [more]
Posted by Joyce Cronin on 10/10/10

Janice Kerbel – Art Now Space

by Mike Tuck
            For her show at Art Now, Janice Kerbel presents the full series of prints from the Remarkable series. The earlier pieces in the series were originally commissioned by Freize projects in 2007. The plain, simply set, monochrome appearance of the typographical prints belies the descriptions of fantastical acts and extraordinary human behavior which the phrases and language explore. Each work presents something akin to a circus, fairground, or freak show act, described in a... [more]
Posted by Mike Tuck on 5/23/10

The Ancient Modernist

by Mike Tuck
You know what a “Moore” looks like, I know what a Moore looks like and they are so ubiquitous that I wouldn’t be surprised if my cat knows what a Moore looks like. They occupy every courtyard, park, lobby and museum in the western world and are the very epitome of what it is to be “sculptural” and, unfortunately, what it is to be conservative in art. Yet for all that we are familiar with the works in question we often miss their point. The survey show at the Tate Britain gets... [more]
Posted by Mike Tuck on 2/28/10

From Hip-Hop Princes to Philosopher Kings

by Charlie Schultz
      Can you imagine hip-hop without gold chains and guns, or religion without a cross, a star, or a crescent moon? It’s hard, but it is possible. After visiting Chris Ofili’s retrospective at the Tate Britain, it is a lot easier. The general arc of Ofili’s brilliant career is well charted, and it comes with a surprise ending: the expulsion of the symbols that brought him fame. The retrospective reaches back to the early nineties when Ofili exploded on to the contemporary British art scene... [more]
Posted by Charlie Schultz on 3/28/10

Natural Signs

by Nicholas James
 The idea of the walk as a sculpture is first recorded in a photograph of 1967, of a line made by walking. The artist spied a likely field from a train and broke his journey to make the first impression. The radical invention was confirmed by another; a broad cross cut through a field of daisies in 1968. The idea is complete and self-fulfilling; Long carefully plans and carries through his itinerary, the physical effort of which becomes a measure of his personal capacity. ‘To walk across a... [more]
Posted by Nicholas James on 7/9/09

from The Sawdust Review: Hurvin Anderson at Tate Britain

Hurvin Anderson, Peter's Series 2007 - 2009Tate Britain3 Feb - 19 April 09 MO Berger, Hurvin Anderson seems to want to both express and withhold in this series of paintings depicting, each in their way, one of the many barbershops in people's homes where his father and other Caribbean immigrants to Britain used to go for a haircut and socializing. The first works in the series predated any of the eight paintings here, as he details in a conversation with Thelma... [more]
Posted by SawdustReview on 3/10/09

From the Sawdust Review

Anderson seems to want to both express and withhold in this series of paintings in which which the decisions and revisions of the artist are evident and form both a sort of narrative and inner dialogue. They are arranged chronologically, and the series can be seen as a progressive effort to convey on canvas a space Anderson experienced in an entirely unaesthetic of review at sawdustreview.wordpress.orgpeace. [more]
Posted by SawdustReview on 3/11/09