Tate
Kitaj retrospective finds sanctuary in the US after cyclone of abuse at Tate
University College, Oxford, has commissioned R.B. Kitaj to paint a portrait of President Clinton (a former Rhodes Scholar) for the school’s Great Hall, but the honour hardly compensates for the American expatriate's treatment at Tate
Tate's new retrospective: Why did we get de Kooning?
Are we right to be so admiring of the work currently exhibited at the Tate
This year's 'New Displays' reveals fresh themes at Tate
A broadly chronological approach with thematic rooms addresses Surrealism, emotion, and history painting
De Kooning and the critics
As the current survey opens in London, we look at how it fared in the US
Tate Gallery annual report for 1992-94: great progress on small funds
The study shows an increasing and successful reliance on non-government support in this time of limited funding and frozen resources
The Hepworth papers: why the delay?
Despite the sculptor’s wishes, Alan Bowness has failed to hand her papers over to the Tate
Tate narrows the list of proposed architects for Bankside extension
Who will design the new Tate Gallery?
Revictorianising Whistler
The artist presented as an eminent contemporary of Ruskin and Morris rather than a prefiguration of abstraction
R.B. Kitaj: 'I begin my working day by falling asleep in front of my easel'
The American artist, who has lived in Britain for the past 35 years, is celebrated with a large exhibition at the Tate
Abstract Expressionism at the Tate
“Myth making: Abstract Expressionist painting from the United States”
A new view of Picasso as sculptor and painter at the Tate
The Tate Gallery's major spring exhibition is a reassessment of the role of sculpture in Picasso's career
Ben Nicholson's ascending or descending reputation
Ben Nicholson centenary commemorated at the Tate
In the land of King Arthur, towards the setting sun: Tate gallery, St Ives
A third branch of Britain's leading modern art gallery opens, with emphasis on the St Ives artistic community
Tate considers magazine
A publication is planned for the gallery, with a pilot projected for September
Tate Gallery perseveres with rotating the collections in face of mounting criticism
New antagonism for New Displays as visitor figures drop in London
Tate planning a national gallery for the twentieth-century before the twentieth century’s done
Tate makes early bid for National Lottery largesse to expand southward
Annual conferences meet in London and Seattle to discuss identity, display, and art history
The Association of Art Historians will meet at the Tate Gallery, while 5000 will gather for the College Art Association conference in the US
Should the Tate Gallery split?
We asked leading figures in the art world whether the Tate should divide into the British Collections and a museum of international modern art: all but one were in favour
Portraiture on display: Allan Ramsay stars solo while a whole cast swaggers at the Tate
Two massive shows bring glamour and glitz to London
Just what is it that makes Richard Hamilton so different, so appealing?
The artist gives a rare interview ahead of his Tate Gallery retrospective, weighing in on Pop Art and the Pop revival and the need for quality judgements in art and consumer society
John Rothenstein, the Tate Gallery’s longest serving director, dies
Douglas Cooper v. the Knight Commander of the Mexican Order of the Aztec Eagle: round one
"New Displays" at the Tate Gallery makes special rooms for Joseph Beuys and Rebecca Horn
Important loans include portraits by Hogarth and Gainsborough and five landscapes by Constable
Reflections on the Richter exhibition
Leading German artist showing at the Tate comments on his work
Problems with British Museum acquisitions summed up in new show 'Collecting the Twentieth Century'
An exhibition at the British Museum makes Brian Sewell question whether it should be buying twentieth-century material at all
Gerhard Richter survey at the Tate Gallery
Nick Serota launches into a new policy towards international contemporary art
As Constables resurface, Tate introduces a new side of the artist
Leslie Parris and Ian Fleming-Williams discuss what we can learn from these new pictures