Suspended, collapsed, stacked, wrapped or folded, the works of Phyllida Barlow spring from an interrogation of some of the most fundamental aspects of sculpture: its physical attributes and its ...

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 ...

Join us this winter for a season of artist talks, public discussions, film nights, live performance and parties inspired by the collective power of art and artists in 1980s Britain. Explore the way ...

Installation view of Samia Halaby, Tottenham Court Road 2024 at Outernet London In celebration of the opening of Tate Modern’s major new exhibition, Electric Dreams: Art and Technology Before the ...

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 ...

In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date. A number of artists of early and mid-twentieth century continued to engage with concepts of the sublime, though often in ...

Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the ...

Explore the global movements of plants and people, starting in Liverpool Through art in the Tate Collection, The Plant that Stowed Away traces the connections between the trading history of cities ...

Longinus, ‘Longinus on the Sublime’, trans. by W.H. Fyfe and Donald Russell, in Jeffrey Henderson (ed.), Aristotle, Poetics; Longinus, on the Sublime; Demetrius ...

Visit the largest festival of contemporary art in the UK Join us for Liverpool Biennial, the UK’s largest contemporary visual arts festival which takes place across Liverpool’s public spaces, ...

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 ...

The sublime in art, it has often been suggested, starts with Edmund Burke’s Philosophical Enquiry (1757). Before this, so the conventional narrative goes, the sublime was a notion that applied only to ...