Displaying items by tag: Tate

The Tate has acquired a rare circa-1650s painting of an unknown woman, by Joan Carlile, thought to be Britain’s first professional female portrait painter. The earliest of Carlile’s works to enter the collection, it is also the earliest work by a woman artists to enter the museum.

At nearly 78, American artist Ed Ruscha has promised to donate to London’s Tate museum one impression of all future prints he makes for the rest of his life. The initiative launched with the inaugural group of prints that includes “Jet Baby,” 2011, “Wall Rocket,” 2013, and “Sponge Puddle,” 2015, along with 15 other works reflecting the artist’s interest in signs, language, and the landscape of Los Angeles.

One wet autumn night in 1951, the travel writer Peter Fleming – the elder and, at that point, more famous brother of Ian – was leaving the theatre when he heard a woman ask her companion to dinner to meet “a friend back from Rangoon”.

This fleeting snatch of conversation prompted Fleming to write a celebrated essay about how isolated and provincial postwar, post-imperial Britain had suddenly become. Twenty years earlier, he realised, half his friends and contemporaries would have been working in such cities across the British empire.

Tate Britain has hired the founder of Nottingham Contemporary to replace director Penelope Curtis, who presided over an often controversial five years at the organization.

Sir Nicholas Serota, director of Tate, said Alex Farquharson had established Nottingham Contemporary “as one of the leading galleries in the UK”. It is one of a number of regional contemporary art galleries to have opened in the past 10 years. “He has created a programme that serves local and national audiences, working closely with artists and reflecting history as well as the present,” Serota said.

Tate trustees have temporarily reversed their decision to restitute a Constable seascape to a Nazi-era spoliation claimant. Last year the UK’s Spoliation Advisory Panel recommended that the picture should be returned to the heirs of its pre-war Hungarian owner.

A Tate spokeswoman told "The Art Newspaper": “New information has come to light on the history of the painting "Beaching a Boat, Brighton," 1924, by John Constable in Tate’s collection. This was reviewed by Tate. The Tate trustees have now approached the [DCMS] Secretary of State to invite the Spoliation Advisory Panel to review the new information. We cannot comment further at this stage.”

Think Victorian sculpture, and our minds immediately jump to Frederic Leighton’s athlete wrestling a python, one of the highlights of the Tate collection. It features in this exhibition and is a good benchmark for what Victorian sculpture was like — visually striking and with all the subtlety of a jewel encrusted pastoral staff, which happens to be another item on display in this show.

The show starts off slowly with medals, coins and busts of Queen Victoria made from different materials, but from then on in there is a selection of some breathtaking artifacts and sculpture.

Tate has been ordered to give details of its BP sponsorship between 1990-2006, in a case brought by environmental campaigners.

An information tribunal has ruled against the art institution, which was refusing to give details, claiming the information could intensify protests and harm its ability to raise money from other companies.

The case had been brought by the environmental campaigner Brendan Montague, supported by the arts and activism charity Platform, which argues that only when the sponsorship sums are in the public domain can informed debate take place.

Tate has acquired 100 works as an addition to their collection thanks to The Outset /Frieze Art Fair Fund to benefit the Tate Collection. The selection panel includes Agustín Pérez Rubio (Artistic Director, MALBA, Buenos Aires) and Laurence Rassel (Director, Fundació Antoni Tàpies, Barcelona) and also Frances Morris (Head of Collections, International Art, Tate), Ann Gallagher (Head of Collections, British Art, Tate), Tanya Barson (Curator, International Art, Tate) and Clarrie Wallis (Curator, Contemporary British Art, Tate). The fund is organized and financed by Outset and in 2014 enjoys continued support from Leviev Extraordinary Diamonds. The annual fund at Frieze London, allows Tate to acquire important works of art at the fair for the national collection. This year the Fund is set at £150,000.

Nicholas Serota, Director, Tate said of the fund: “For more than a decade, the Outset Contemporary Art Fund has played a major role in helping Tate to build the national collection of contemporary art for the benefit of audiences across the country and in London. We are immensely grateful to Outset for this support."

The Eduardo Paolozzi Foundation has donated the artist’s private archive to Tate, the "Guardian" reported. The donation encompasses hundreds of boxes filled with drawings, collages, notebooks, and other ephemera and is one of the most significant archives given to the institution to date.

The material had filled the sculptor’s chaotic studio in London’s Chelsea until his death in 2005. Adrian Glew, the Tate’s archivist, said that Paolozzi’s belongings were stacked “almost floor to ceiling,” and consisted of “games, puzzles, TV circuitry, computer and transistor boards, optical instruments, piano keys, Lego, shoes, teeth, die, beads, bobbins, matches, chocolate molds, rubber stamps, playing cards, gramophone records, film and audio tapes.”

An exhibition of Henri Matisse's cut-out art has become the most successful exhibition held to date at the Tate with more than 560,000 visitors.

The Tate Modern show was the first in its history to attract more than half a million people.

"Matisse: The Cut-Outs" drew attention to the final part of the French artist's career from 1937-54.

Sir Nicholas Serota, director of the Tate, said he was "delighted" at the show's success.