Tag Archives: Tate Modern


Join Mark Bradford and curator Michael Auping for a public conversation at Tate Modern.

Bradford will discuss how he uses merchant billboards, posters and other found materials to engage issues of race, queerness and social inequality. The discussion will trace the evolution of Bradford’s practice and explore his unique relationship to paper as both an ordinary material and an extraordinary conveyor of society’s intentions and rights.*



Monday, September 30, at 6:30 pm.

Starr Cinema, Tate Modern

Bankside, London.

Mark Bradford, from top: Dancing in the Street (2019), video still; Sapphire Blue, 2018, mixed media on canvas; Frostbite, 2019, mixed media on canvas. Canvas artwork photographs by Joshua White. Images courtesy and © Mark Bradford and Hauser & Wirth.


Chapter 1 of SEX—the new exhibition by Anne Imhof—will be up at Tate Modern through the end of this month.

The durational performance component of the show can be seen three more times in the Tanks, beginning on Thursday.

(Chapters 2 and 3 will take place in Chicago—in late May—and in Turin in 2020.)


Through Sunday, March 31.

Performances in the Tanks:

Thursday, Friday, and Saturday, March 28, 29, and 30.

6:30 pm to 10:30 pm.

Tate Modern

Bankside, South Bank, London.

From top: Mickey Mahar (foreground head) and Josh Johnson in rehearsal for Anne Imhof—Sex at Tate Modern, 2019; Eliza Douglas, rehearsal; rehearsal group; Sacha Eusebe, rehearsal. Photographs by Nadine Fraczkowski, courtesy Galerie Buchholz, Berlin, Cologne, and New York, © Nadine Fraczkowski.


The Anni Albers exhibition at the Tate Modern opening this week—the first comprehensive show devoted to her textile work in the United Kingdom—is complemented by ANNI ALBERS—CONNECTIONS: PRINTS, 1963–1984 at the Alan Cristea Gallery.


Through November 10.

Alan Cristea Gallery, 43 Pall Mall, London.


October 10 through January 27.

Tate Modern, Bankside, London.


Thursday, October 11, at 6:30 pm.

Starr Cinema, Tate Modern, Bankside, London.


See Helen Molesworth, Leap Before You Look: Black Mountain College, 1933–1957 (New Haven, CT.: Yale University Press/Boston: ICA, 2015); and “Under the Volcano—Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016), 29–37.

From top:

Anni Albers Card Weaving at Black Mountain College. Image credit: State Archives of North Carolina.

Anni Albers, Second Movement III, 1978.

Anni Albers, Study for Unexecuted Wallhanging, 1926. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers, Ancient Writing, 1936. Smithsonian. Image credit: Josef and Anni Albers Foundation; ARS, New York; DARS, London.

Anni Albers.



Two opportunities to see the work of Wolfgang Tillmans:

In his first exhibition at Tate Modern, a selection of photographs, recorded music, publications, videos, and digital slide projections by Tillmans since 2003 are now on view through the first week of June.


WOLFGANG TILLMANS: 2017, through June 11

TATE MODERN, Bankside, London



“What does this constant self-expression mean? Is that maybe a terror of self-expression?” — Wolfgang Tillmans*

“A thoughtful, intelligent confidence has guided his long, successful journey, but Wolfgang has claimed that he would be lost without the strong sense of doubt that defines his photography, from the representational documents of his community to his abstractions. He is highly engaged in the international discourse around politics and power. Yet, as he told writer Paul Flynn in 2009, ‘purposelessness is quite crucial to art.’ These contradictions are the connections that define Wolfgang’s body of work.”**

In its first large-scale show devoted to photography, the Fondation Beyeler will exhibit over 200 works from 1989 through 2017 by Tillmans, together with a new audiovisual installation.


WOLFGANG TILLMANS, May 28 through October 1.

FONDATION BEYELER, Baselstrasse 101, Basel



*”Sound and Vision: Wolfgang Tillmans in conversation with Dorothée Perret,” PARIS LA 15, Spring 2017, 53.

**Barlo Perry, “Sound and Vision” introduction.

Wolfgang Tillmans, La Palma, 2014 © Wolfgang Tillmans Image credit: Tate Modern

Wolfgang Tillmans, La Palma, 2014
© Wolfgang Tillmans
Image credit: Tate Modern


Screen shot 2014-05-13 at 11.14.44 AM

Henri Matisse, The Sheaf, 1953
Collection University of California, Los Angeles. Hammer Museum
© Succession Henri Matisse / DACS 2013
(from www.tate.org.uk)


Tate Modern, London

until September 7, 2014

Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began ‘carving into colour’ and his series of spectacular cut-outs was born.

The exhibition represents a once-in-a-lifetime chance to see so many of the artist’s works in one place and discover Matisse’s final artistic triumph.

In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium.

From snowflowers to dancers, circus scenes and a famous snail, the exhibition showcases a dazzling array of 120 works made between 1936 and 1954. Bold, exuberant and often large in scale, the cut-outs have an engaging simplicity coupled with incredible creative sophistication.

The exhibition marks an historic moment, when treasures from around the world can be seen together. Tate’s The Snail 1953 is shown alongside its sister work Memory of Oceania 1953 and Large Composition with Masks 1953 at 10 metres long. A photograph of Matisse’s studio reveals that these works were initially conceived as a unified whole, and this is the first time they will have been together  in over 50 years. Matisse’s famous series of Blue Nudes represent the artist’s renewed interest in the figure. 

London is first to host, before the exhibition travels to New York at the Museum of Modern Art and after which the works return to galleries and private owners around the world.

Henri Matisse: The Cut-Outs is curated by Nicholas Cullinan, Curator, Modern and Contemporary Art, The Metropolitan Museum of Art, New York; Nicholas Serota, Director with Flavia Frigeri, Assistant Curator, Tate and at the Museum of Modern Art, New York by Jodi Hauptman, Curator, Department of Drawings, and Karl Buchberg, Senior Conservator, with Samantha Friedman, Assistant Curator.

Henri Matisse The Snail 1953 © Succession H. Matisse / DACS 2014

Henri Matisse
The Snail 1953
© Succession H. Matisse / DACS 2014
(from www.tate.org.uk)