COMPASS: YOUR GUIDE £1 TO TATE LIVERPOOL’S SPRING PROGRAMME 1950. Photograph 1950. by Hans Namuth. Courtesy Center for Creative Photography, University of Arizona. Hans Namuth © 1991 Estate. Jackson Pollock

SUMMER 2015: ABSTRACT EXPRESSIONISM / AMERICA / THE ARTIST’S STUDIO / COLLISIONS / CONSTELLATIONS / ENCOUNTERS WELCOME MAP / CONTENTS

This summer at Tate Liverpool we have three be an extraordinary way to show a viewer how remarkable artists who, each in their own way those encounters and clashes fuel the creative capture and reveal the concerns and contexts in process.’ which they are working, acting as seismographers of different eras. Overcoming her initial marginalisation in the 1940s (when the communist party introduced Jackson Pollock: Blind Spots / ‘Is he the greatest living painter in the United rules to exclude students whose family owned Glenn Ligon: Encounters and Collisions States?’ That question, posed by Life magazine property), Romanian artist Geta Brătescu’s works 30 June – 18 October 2015 of Jackson Pollock in 1949, helped to cement include print, performance, installation and film. Adult £10 / Concession £7.50 his status; however, the artist spent much of the With a particular emphasis, exploration of, and rest of his career seeking to justify it. He would commitment to the drawn line (‘for me, the line Assistant Curator Stephanie Straine and artist also feel it necessary to look beyond the abstract is the essence’), Brătescu’s often monochrome Glenn Ligon discuss our top floor exhibitions expressionism he had pioneered. Jackson Pollock: practice engages with themes – both formal and Blind Spots explores these developments, tracing conceptual – found in Jackson Pollock’s oeuvre. Living Room / DLA Piper Series: Constellations his evolution from the famed multi-coloured drip But her experience outside a pervasive cultural Until 5 July / Ongoing from 3 August technique to what came to be known as black hegemony means she also shares certain, perhaps Admission free pourings. Figurative, near calligraphic works more personal correspondences with Glenn Ligon. rendered almost exclusively in black, art historian You can catch the Living Room display until 5 July. Michael Fried believed them to be of ‘virtually If you have any questions about the exhibitions From 3 August the floor will be home to a new limitless potential’. Complementing this story, for please do ask a member of staff. galaxy of constellations the first time utilising the expertise of our Visitor Assistants, we have produced an in-house audio We hope you enjoy your visit. DLA Piper Series: Constellations guide. With a script written by Lee Kendall, voiced Ongoing by Ann Bibby and John Hughes, the guide brings Francesco Manacorda Admission free you closer still to the incredible narrative Artistic Director at play in Pollock’s career. Content Editor Mike Pinnington discusses the thinking behind DLA Piper Series: Constellations If Pollock is a colossus of post-war American culture, then Glenn Ligon might be the echo, G Geta Brătescu reflection and even conscience of that period’s 30 June – 18 October 2015 legacy. Believing that ‘an artist uses history … as Admission free the raw material for one’s practice,’ in Encounters and Collisions Ligon brings together artworks Assistant Curator Lauren Barnes explores the with which he shares affinities. Punctuating and importance of the studio space for Geta Brătescu reframing the post-war American canon, works by artists such as Bruce Nauman, Andy Warhol and Jean-Michel Basquiat – as well as key examples Toilets of abstract expressionism, such as Willem de Cloakroom Kooning’s Black Untitled 1948 – sit alongside those of his own. The artist has said: ‘I realized that juxtaposing my own work with that of others could JACKSON POLLOCK: BLIND SPOTS FLOOR 4 POLLOCK IN TRANSITION

The big thing right now is Jack’s show. Alma 1950 can in retrospect be understood as the year works, Pollock’s personal demons were perhaps and I were there and it was bigger than ever in which the artist attained total mastery of his triggered by the raw exposure of performing this year and many important people in the revolutionary all-over drip technique, in which on film, and shortly after, his painting practice art world present. Lee seemed very happy he laid canvas directly on the floor of his studio abruptly changed course. and greeted every one with a big smile, Jack and painted not by touching its surface, but by appeared at home with himself and filled dripping and flinging paint from above, gravity Hans Namuth, looking back on this time in 1979, the part of a famous artist. Must be great a partner in his actions. He often used industrial wrote: ‘I have asked myself why Jackson chose to be talked about in the newspapers and enamel paints thinned with turpentine for greater this point in his life to resume drinking. In part, magazines and recognized by them as one fluidity. Pollock, speaking in a radio interview with of course, it was the result of the circumstances of the leaders in the non-objective art field William Wright (recorded that year), modestly gave of that last day of filming. There was a heavy air some insight into his approach: ‘Well, method is, of crisis hanging about. […] One can, of course, Recounting the opening of Jackson Pollock’s it seems to me, a natural growth out of a need, speculate on the deeper reasons. I wasn’t aware Jackson Pollock Number 7 1952 © The Pollock-Krasner Foundation ARS, solo exhibition at the Betty Parsons Gallery, and from a need the modern artist has found new of it at the time, but in retrospect I think he NY and DACS, London 2015 New York at the very end of 1950, Marvin Jay ways of expressing the world about him. I happen had reached a transition point in his work […].’ Pollock’s letter of 3 December describes a man to find ways that are different from the usual Namuth’s images engage with and encourage the that blurs the lines between conscious and finally at home with his success. In this exhibition techniques of painting, which seem a little strange enduring myths and aura of the artist’s studio; unconscious motivations. Pollock would pose for Pollock presented his most mature works to date, at the moment, but I don’t think there’s anything but more than that, they actually succeeded in Namuth once again in the summer of 1951, with including such latterly iconic paintings as Autumn very different about it. I paint on the floor and this transforming public understanding of the artist these black poured paintings still in his studio, but Rhythm (Number 30) 1950 and Number 1, 1950 isn’t unusual – the Orientals did that.’ through their pervasive media presence. Namuth’s never again would he allow the camera to capture (Lavender Mist) 1950: vast, wall-spanning canvases documentary, reportage style lends above all else him in the act of painting. which represented the very summit of abstract In the last months of 1950 Pollock, following two a ‘truth’ to these images of Pollock performing his art’s achievements, and the culmination of his years of sobriety, abruptly returned to drinking painting for the camera, however slippery that Stephanie Straine Assistant Curator signature drip technique. – an event, it seems, that was precipitated by truth may be. the conclusion of his second filming session with Jackson Pollock: Blind Spots has been developed in collaboration with The Pollock-Krasner Foundation and organised in partnership Perhaps somewhat shielded by fraternal pride, the photographer Hans Namuth in November. We can never really know if it was Namuth’s with the Dallas Museum of Art Marvin Jay’s letter does not, however, tell the Namuth’s friendship with Pollock and his wife Lee intrusion into his previously private painting whole story of this pivotal moment in his brother Krasner had begun only a few months earlier, sanctuary that prompted the turning point in Supported by Jackson’s career. Despite the clear step forward when he approached the couple with a request Pollock’s practice, away from the all-over dripped that these paintings signified, the truth of their to take some still photographs of the artist abstractions and towards the darkly menacing immediate critical reception is that many art working in his studio-barn. These black and white figurative imagery that appears in the poured journalists once again disparaged the works in images were later to define public opinion of black enamel paintings he began in 1951, but this era-defining exhibition, with the New Yorker Jackson Pollock, but it was to be a short, sharp certainly, after this encounter Pollock’s art – and The Pollock-Krasner Foundation critic dismissing the majestic floor-to-ceiling and explosive working relationship. After Namuth life – fundamentally changed. The exhibition Tate Liverpool Members paintings as ‘meaningless embellishment’. Even wrapped the experimental film of Pollock painting Jackson Pollock: Blind Spots examines this return to Pollock’s most fully realised body of work took on glass (which became the work Number 29, representation within these relatively neglected some time to be recognised for what it was: a 1950 1950 now in the National Gallery of Canada, works of 1951 to 1953 (such as Number 7 1952, Media partner complete redefinition of modernist painting. Ottawa), the artist started drinking again that very pictured). Pollock’s refined pouring technique day. In the aftermath of completing what would creates an almost calligraphic style, producing a come to be seen as some of his most successful tense balance between abstraction and figuration GLENN LIGON: FLOOR 4 ENCOUNTERS AND COLLISIONS

In her 1987 autobiography People Who Led to The emerging exhibition consists of works of art My Plays author Adrienne Kennedy details the and other cultural material that have different people, places and things that influenced her degrees of proximity to my own practice. Some artistic practice. From sources as varied as have informed my thinking as an artist; others Tennessee Williams (whose plays Kennedy said I have referred to or appropriated in my work took ten years to stop imitating) and the Wolf (performatively and critically; acts of both Man (whose horror movie transformations from identification and dis-identification); while at man to beast influenced Kennedy’s use of actors the outer edges are art works I like and admire, playing multiple parts), People Who Led to My Plays whose affinities with my own practice are less gives amazing insight into the ways in which an direct but somehow suggestive – suggestive of artist is shaped by both personal experience and the equivalences that arise from shared, the cultural moment in which they reside. It was broadly-defined cultural and political histories. Kennedy’s text that inspired Yourself in the World, It is at these outer edges of the selection – edges Glenn Ligon Malcolm X #1 (small version #2) 2003 © Glenn Ligon 2015, Courtesy Rodney M Miller Collection a compendium of my writings and interviews we have reached by taking ideas for walks – that published in 2011, which contains many texts the operations of biography, authorship and about artists that led to my practice or with whom identification – so far as they inform the curatorial I share artistic affinities. Yourself in the World selection – become more ambiguous and Willem de Kooning Valentine 1947 © The Willem de Kooning Foundation, New York/ ARS, NY and DACS, London 2015, photo SCALA, Florence was published in conjunction with Glenn Ligon: problematized. Since revealing and problematizing AMERICA, a retrospective exhibition organized by these normative operations is something I’ve the Whitney Museum of American Art in 2011. sought to manifest in my own practice, this is The book and the exhibition offered me a unique something we have looked for in structuring opportunity to survey my practice over the last the exhibition. unusual and close proximity between powerful, already situated between these positions, or else twenty-five years and to think deeply about the often canonical, abstract paintings and sculptures belong to subsequent periods or different cultural artists who were important to it. Several of my own works will feature in the (frequently Post-War and American), and charged geographies. exhibition. These, we hope, will help elucidate socio-political material that belongs to the When approached by Alex Farquharson, the thinking behind the curatorial choices, same period and culture. Questions inevitably Glenn Ligon Guest Curator Director of the Nottingham Contemporary, to or, put another way, act as the glue between follow (questions that have long haunted my collaborate on a show in 2015, he suggested heterogeneous artworks and artifacts (particularly own practice): What does it mean, for example, Encounters and Collisions is curated by Glenn Ligon, in dialogue with Francesco Manacorda, Artistic Director, Tate Liverpool that the disparate illustrations and references for those unfamiliar with my work). This selection to make a black or white abstract painting – and Alex Farquharson, Director, Nottingham Contemporary. in Yourself in the World to art works and other will act somewhat like a solo show within a group perhaps the zero degree of art – at the time of The exhibition is a partnership between Tate Liverpool and cultural and political events might serve as a show, but one with fuzzy edges (works of mine the Civil Rights struggle, or the more militant Nottingham Contemporary. The exhibition was at Nottingham Contemporary 3 April – 14 June 2015 starting point for thinking about an exhibition. will appear in the spaces of others and vice versa) revolutions that followed (by blacks and other I realized that juxtaposing my own work with – a literal and interpenetrating ‘self’ in the ‘world’. racial minorities, by women and gay artists); that of others could be an extraordinary way to Ultimately, we will want to make evident the and, conversely, what if we re-consider that Supported by show a viewer how those encounters and clashes relative unreliability of my work as a navigational documentary material within the concentrated fuel the creative process. Rather than produce tool to the exhibition (as against the sovereignty aesthetic domain of modernist art (i.e. what is another monographic show, this exhibition is of intentionalism). the contribution of aesthetics to the realization of about making the artistic thought processes and these social movements’ political goals)? This is Tate Liverpool Members social and political contexts in which the work is Of the content of the exhibition, for one, what briefly to cite one binary the exhibition looks to produced visible. should quickly become evident to visitors is an undo; many of the other works and images are SUMMER LISTINGS

THIS SEASON AT TATE LIVERPOOL INCLUDES A PACKED PROGRAMME OF EVENTS, WITH COURSES, FAMILY ACTIVITIES A WEEK LONG SUMMER RESIDENCY AND MORE, ALL INSPIRED BY OUR VERY SPECIAL EXHIBITIONS.

Some of our top tips:

Creative Forum: Summer Residency Actions Stations: Paint Archery Monday 27 – Friday 31 July 2015 Wednesday 5 – Saturday 8 August/ FREE, Booking Essential Wednesday 12 – Saturday 15 August Action Stations: Paint Pops Take part in a week long creative project in Wednesday 19 – Saturday 22 August/ response to the Glenn Ligon: Encounters and Wednesday 26 – Saturday 29 August/Bank Collisions exhibition. Led by experienced Holiday Monday 31 August, 13.30–16.30 practitioners and artists this is an opportunity FREE, No Booking Necessary for young people aged 15–18 to meet, learn Clore Learning Centre at Tate Liverpool new skills and make and share art work. Join artist Tony Hall this summer for some explosive family fun. Inspired by the Jackson Study Day: Jackson Pollock Pollock: Blind Spots exhibition, the family activity Saturday 11 July £28, Booking Essential Action Stations will be turning our Clore Learning Five Week Course: Jackson Pollock September Studio into a ballistic drawing lab where we will 28, October 5, 12, 19 and 26 be playing with gravity, catapults and trapdoors Full price £54.50 / Standard Concession £43.50 to stretch how far we can take mark making in lab / Lower Concession £30.50, Booking Essential style table top experiments. We’ll provide aprons but wear old clothes just in case! Choose between a concentrated study day or a five-week course at Tate Liverpool. Explore Plus in our action paint lab we’ll see how Jackson Pollock’s heroic and mythical status as controlled you can be to hit the targets in Paint a leading figure of post-war American art, study Archery. Come back again to try out Paint Pops the art works in the Jackson Pollock: Blind Spots where we’ll be experimenting with small bicycle exhibition and learn more in classroom-based pump cannons loaded up with inked ammunition lectures and discussions. to create mini explosive splatter paintings.

Programmed in association with Continuing Education Centre for Lifelong Learning, For more information about any of University of Liverpool. these events and more, please ask a Tate Liverpool Members Visitor Assistant about the programme or browse and book events online at tate.org.uk/Liverpool.

Jackson Pollock, Yellow Islands 1952 © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015 DLA PIPER SERIES: CONSTELLATIONS: FLOOR 2 FLOOR 1 WORKS OF OUTSTANDING QUALITY AND SIGNIFICANCE

Have you visited our free DLA Piper Series: displayed among artworks that relate to it, and Constellations displays? Tracking the works and to each other, across time and location. Chosen movements of major twentieth century artists, for their similarity to, apparent difference from they reflect the concerns of artists working today. or transformation of the trigger work, each constellation creates interesting relationships and Specially selected from the Tate collection, meaning that extends the themes and concerns DLA Piper Series: Constellations encourages the of the originating work. exploration of connections between contemporary works of outstanding quality and significance by Accompanying the constellations are word clouds arranging them in groupings. Presenting more (found under the information panels within each than sixty works from the national collection, the room) made up of a set of key words that suggest display offers an imaginative way of viewing and the connections between them. Offering a visual understanding artworks through how they relate snapshot of the shared characteristics of the to each other rather than by chronology. works, traits that are most common appear larger.

Each of the constellations has its own originating As you walk through the display, you might like ‘trigger’ artwork, chosen for its revolutionary to think about words you would choose for your effect, while each of these trigger works are own word clouds. Indeed, over the previous 18 PABLO PICASSO Bowlmonths of Fruit, Violin or and so, Bottle word 1914 clouds have been reworked In 1912 Picasso began experimenting with the dimensions through techniques of perspective. style byof art-making audience that became members, known as replacingHere the thr eethe dimensions existing are presen setsted all at cubism. He st arted working with co llages to once; for example, the head of the violin is shown provideproduced the fragmented byrepresen Tatetation Liverpool’sof objects, from theexhibitions side, the fingerboar team,d from ab ovine, and and soon inco rporated these elements into oil the body from an angle somewhere between the paintrecognitionings. Bowl of Fruit, Violin of and how Bottle is onethe individualtwo. works such work, in which co llage elements are simulaandted in paitheirnt and sandgroupings is included to makmighte Raprovokether than of fe ringdifferent a static frozen snapshot, the the paint ing three dimensional. fragmented still life shows object s persisting through time, being viewed at different moments In its personalsubject matter it isjourneys. a typical 'still life ', a from various view points and existing in a state of genre of painting dating back to the ancient flux. Throughout the twentieth century the still life Greeks. The cubist still life retains the ambition of has been developed in this manner, with different representing reality, but focuses on re flecting our approaches to representing tempora lity and our perception rather than creating an illusion of three perception of the commonplace. Experiment with your own constellations using the Tate collection and more with our online resource, Albums: tate.org.uk/art/albums and share them with us on Twitter @TateLiverpool

COMING SOON! From 3 August 2015, the second floor of the gallery will be home to four new DLA Piper Series: Constellations, revolving around trigger artists Richard Hamilton, Cindy Sherman, Joseph Beuys and Louise Bourgeois.

Sponsored by

Pablo Picasso constellation and word cloud

PABLO PICASSO Bowl of Fruit, Violin and Bottle 1914 In 1912 Picasso began experimenting with the dimensions through techniques of perspective. style of art-making that became known as Here the three dimensions are presented all at cubism. He st arted working with co llages to once; for example, the head of the violin is shown provide the fragmented representation of objects, from the side, the fingerboard from above, and and soon inco rporated these elements into oil the body from an angle somewhere between the paintings. Bowl of Fruit, Violin and Bottle is one two. such work, in which co llage elements are simulated in paint and sand is included to make Rather than of fering a static frozen snapshot, the the paint ing three dimensional. fragmented still life shows object s persisting through time, being viewed at different moments In its subject matter it is a typical 'still life', a from various view points and existing in a state of genre of painting dating back to the ancient flux. Throughout the twentieth century the still life Greeks. The cubist still life retains the ambition of has been developed in this manner, with different representing reality, but focuses on re flecting our approaches to representing tempora lity and our perception rather than creating an illusion of three perception of the commonplace. GETA BRĂTESCU: THE STUDIO FLOOR G HER WORLD MATERIALISED

Over several decades, the Romanian artist Geta by the continued explorations of ‘the Eye’ around example of Charlie Chaplin’s performances: Brătescu (b. 1926) has produced a hugely varied the studio; we begin to piece together a portrait ‘he was very serious while doing things that body of work. She studied art at university in of the artist through the artworks, furniture and were not serious at all!’ (interview with Bucharest in the late 1940s, but was expelled after environment that the camera explores. Christophe Cherix, May 2012). three years when the newly dominant communist party introduced rules to exclude students whose In The Awakening, Brătescu draws with her own In the United States thirty years earlier, Hans families owned property. Working primarily as an body as it moves through space and as it interacts Namuth’s iconic photographs of Jackson Pollock’s illustrator and designer in the intervening years, with objects in the studio. The artist measures gestural painting in his studio contributed to the she returned to university in the late 1960s, and her length on a huge sheet of paper laid in an artist’s mythic status as an icon of modernist again had a dedicated studio space, the impact L-shape on the wall and floor of the studio (a painting. In Namuth’s view, Pollock’s actions of which was significant: ‘It was a space without space she has likened to the pages of a large are deliberate, decisive, and irreversible; the Geta Brătescu in her studio 2012 © Photo by Stefan Sava. All rights reserved politics. It was my self.’ book). Using chalk, she defines a box according to photographs document the precise moments her own height, but tries in vain to mirror with her at which the paint of these iconic works hit Encompassing film, performance, sculpture, own body the diagonal with which she intersects the canvas. In contrast, Brătescu’s gestures are textiles, printmaking and collage, Brătescu’s the square. Pieces of wood akin in size to slices temporary, provisional and playful, investigating practice is governed by a sense of experimentation of bread are laid on the sheet, and the artist the possibility of drawing to navigate our own and play, and can be understood as a form proceeds to dance around them as if stepping- position in space and our own relationship of drawing: whether with a pencil, scissors, stones across water. A spiral object is dropped with the world. sewing machine, or the artist’s own body, each repeatedly: like the string Duchamp dropped to performs the act of ‘positioning in space’ that produce his 3 Standard Stoppages 1913–4, replica In the political context from which Brătescu is fundamental to her practice. Included in the 1964, the object forms a line. Unlike Duchamp’s emerged, the studio was an arena outside the exhibition is The Studio 1978; shot on 8mm film, ambition ‘to imprison and preserve forms controlled cultural production of the public it is one of the artist’s most celebrated works, obtained through chance’, Brătescu’s drawing is sphere, a site where a progressive, experimental which she has called ‘an apologia for drawing’. tentative and temporary. artistic practice could find its form. But despite Its reflection on the activities of an artist’s private political changes in Romania, the studio has Geta Brătescu in her studio 2015 © Photo by Stefan Sava. All rights reserved domain provides a window into Brătescu’s In the final section, The Game, a folding stool retained its fundamental importance for Brătescu: singular practice through the studio space that becomes another character in the studio, with she says ‘the studio, in my case, is like my family is central to it. whom she plays a clapping game, before dressing life; always the same, not tarnished by anything…’ it with a draped shawl. Later she disguises herself It remains the ‘other self’ of the artist, her world In the first section, subtitled The Sleep, the in her own shirt and parades around the studio, materialised in three dimensions, where the act camera, described by Brătescu as ‘the Eye’, enters spinning around a piece of machinery, casting of drawing in its various modes continues to the artist’s studio, wandering between different objects onto the floor, and crashing together the take form. objects and exploring the territory as if entering wooden pieces as if performing with cymbals. it for the first time. We stumble across the figure Brătescu hints at the remove of these gestures Lauren Barnes Assistant Curator of the artist sleeping on a day bed, undisturbed from any functional purpose. She points to the 5 MINUTES WITH... ALAN YATES TATE MEMBER AND CHAIR OF TATE LIVERPOOL MEMBERS COMMITTEE

Hi Alan, tell us a bit about yourself: I looked for cultural partners with whom we could What is the favourite show you’ve seen Do you have a favourite work or artist in I’m Alan Yates, I am a husband and father, a identify mutual benefit when I moved to Liverpool in that time? the Tate collection/DLA Piper Series: mathematician and an NHS manager for 36 years in 2001. Tate Liverpool was both interesting Turner, Monet, Twombly [Tate Liverpool, 2012]. Constellations displays? before I went independent three years ago. Right and interested. My neighbour, then Chair of I am still very much a learner when it comes to Not really, but I like the whole constellation idea. at the start of my time in the NHS I was assigned the Tate Liverpool Members Committee, kindly modern art, so an exhibition which explained I think connections are fascinating. In my work to support the fledgling ‘Arts and Health’ initiative bought me a gift membership to encourage my to me the progression over time helped me I am thinking less and less about structures and in Manchester. As a science graduate from a greater involvement. I think that was in 2005. His appreciate Cy Twombly much more. more and more about connections. Constellations railway engineering family, music was popular generosity worked, I’ve renewed my membership are a great way to explain connections. but visual art hardly entertained. Colleagues there ever since. What are you looking forward to seeing in the introduced me to a wonderful world of expression near future at Tate Liverpool? Tell us a secret! and understanding which included everyone and Which membership benefit do you take Undoubtedly Pollock. My now 32 year old son did At the end of a long week in 1977 I was sliding didn’t discriminate between the people we called the most advantage of? a coursework study of Pollock for his A level art down the bannister of the offices of Manchester patients and the people we called therapists. I My office was nearby and it was, and still is, and like many parents I found myself inveigled Royal Infirmary singing ‘The day thou gavest Lord have seen the evidence of marked benefit from a great treat to spend a relatively short time, into helping into the small hours before its has ended’ when I flattened the rather severe involvement in the arts and have been a keen perhaps just looking at one piece in the paid-for submission deadline. It will be good to discover Matron of the hospital. As she picked herself up supporter since. exhibition, without thinking ‘am I getting value if James’s conclusions were justified! she said: ‘It will be your career and not the day from my entrance fee?’ I find myself in London that ends if you repeat that act of stupidity.’ When and how did you come to be a more now and I spend relatively short but more If you could pick one artist to exhibit here, I don’t think I have slid down a bannister since. Tate Member? frequent amounts of time seeing one of the who would it be and why? Through my work in NHS mental health services exhibitions at Tate Britain or Modern. The nearest I get to being creative myself is in and that long association with Arts and Health photography so perhaps Cartier-Bresson? Henri Matisse The Snail 1953 © Succession H. Matisse / DACS 2014

COMING SOON AT TATE LIVERPOOL HENRI MATISSE’S THE SNAIL 1953, STAR OF TATE MODERN’S RECORD-BREAKING EXHIBITION HENRI MATISSE: THE CUT-OUTS NOVEMBER 2015

FIND OUT MORE STAY IN TOUCH TATE.ORG.UK/LIVERPOOL SIGN UP FOR THE 0151 702 7400 TATE LIVERPOOL E-BULLETIN OR ASK A MEMBER OF STAFF TATE.ORG.UK/LIVERPOOL TATELIVERPOOL @TATELIVERPOOL