Edmund Burke’s Philosophical Enquiry (1757) connected the sublime with experiences of awe, terror and danger. Burke saw nature as the most sublime object, capable ...

You can now find us at RIBA North, Mann Island, while our Royal Albert Dock home is temporarily closed for redevelopment. Our new space is smaller than our building on the Dock. Visitors can enjoy two ...

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Developed in relation to works by Tacita Dean and William Kentridge, this article explores the way in which the arrival of digital technology has impacted upon our conception of drawing, suggesting ...

Louise Nevelson once noted that ‘artists are born collectors’.1 The artist herself was a life-long collector and that pastime ultimately came to inform how she worked, culminating in her monumental ...

Fig.2 John Constable The Cornfield 1826 National Gallery, London Born into a prosperous family in the village of East Bergholt, Suffolk, Constable’s early display of aptitude and passion for painting ...

Tate Online aims to help fulfil Tate’s mission to increase public understanding and enjoyment of British and modern international art. Given the rapidly developing scope and potential of digital ...

Bernd and Hilla Becher first began their project of systematically photographing industrial structures in the late 1950s. This paper, first given at a conference at Tate Modern, investigates the ...

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This article summarises the key concerns of Pseudo-Longinus’s On the Sublime, and considers their interest for one of the most influential translators of the treatise, Nicolas Boileau (1636–1711).

Art informel is a French term describing a swathe of approaches to abstract painting in the 1940s and 1950s which had in common an improvisatory methodology and ...

This is one of four reports produced by researchers in the project Reshaping the Collectible: When Artworks Live in the Museum. Each offers a perspective from one of four practices that are changing ...