Contemporary art Exhibitions Museums United Kingdom

Tate will put women artists first and foremost

Sonia Delaunay, Agnes Martin, Barbara Hepworth and Marlene Dumas exhibitions planned along with Calder and Pollock shows

Sonia Delaunay, Prismes electriques, 1914. Copyright, Pracusa, CNAP

Women artists come to the fore next year at Tate with shows devoted to Sonia Delaunay, Agnes Martin, Barbara Hepworth and Marlene Dumas announced today, 31 July.

The first retrospective in the UK dedicated to the French avant-garde artist Delaunay is due to open in the spring at Tate Modern (15 April-9 August 2015). Delaunay (1885-1979) co-produced with her husband Robert several large-scale mural paintings for the 1937 Paris International Exhibition, and is known for her vividly coloured textiles emblazoned with striking geometrics. The show is co-organised with the Musée d’Art Moderne de la Ville de Paris (Paris-Musées).

An exhibition of works by the South Africa-born, Amsterdam-based artist Marlene Dumas (b.1953) first opens at the Stedelijk Museum in Amsterdam this September, and will travel to Tate Modern early next year (5 February-10 May 2015). “It is the most comprehensive retrospective survey of her work in Europe to date and presents a compelling overview of her oeuvre from the late 1970s to the present,” say the organisers at the Stedelijk. Dumas’s work explores controversial subjects such as gender and sexuality, celebrity and the influence of the mass media.

Somewhat overshadowed at the Tate by Henry Moore, his contemporary and St Ives stalwart Barbara Hepworth (1903-75) gets a major retrospective at Tate Britain (24 June-25 October 2015). The exhibition dedicated to the British sculptor will tour to Kröller-Müller Museum, Otterlo (November 2015–April 2016) and Arp Museum, Rolandseck (May–August 2016). Also at Tate Britain, the London-based painter Frank Auerbach will present around 70 paintings and drawings reflecting people and places near his Camden Town studio (9 October-14 February 2016).

After big Alexander Calder shows recently organised by the Centre Pompidou and Los Angeles County Museum of Art among other institutions, next year Tate Modern will present the late US artist's first major retrospective in the UK (11 November 2015-3 April 2016). Another American heavyweight gets a show at Tate Liverpool. “Jackson Pollock: Blind Spots” (30 June-18 October 2015), presents the artist’s paintings made between 1951 and 1953 using a new “pour” technique.

A global take on Pop art is promised in the exhibition “The World Goes Pop” which is due to open next autumn at Tate Modern (17 September-24 January 2016). The show, which includes more than 200 works dating from the 1970s and 1980s, aims to demonstrate that the movement was not just driven by Western consumer culture. Jessica Morgan, the exhibition curator, told the Financial Times: “It’s looking at pop but outside the US and the UK: in Eastern Europe, Asia, Latin America.” The exhibition will include Kiki Kogelnik’s anti-war sculpture Bombs in Love, 1962, and Icelandic artist Erró’s cartoonish American Interiors, 1968.

Tate, which is still playing catch up in the field of photography, throws spotlight on the medium next year with two shows at Tate Britain: “Salt and Silver: Early Photography 1840-1860” (25 February-7 June 2015) and “Nick Waplington and Alexander McQueen” (10 March –17 May 2015).

Meanwhile, curators at Tate St. Ives will pair work by the veteran abstract artist Terry Frost with pieces by the emerging Welsh artist Jessica Warboys (10 October-10 January 2016).

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8 Aug 14
19:59 CET


The short lived Feminist Times online ended last month with an interview with the great Camille Paglia. Her recent beautiful book on art `Glittering Images` is a best seller. The proposition `In the 21st century the best living female artists are actually making better art than the best living male artists` is not one she advances. She wasn`t able to name the female artists who are trailblazing/taking the lead/being avant-garde deluxe etc. I`ve read no male academics,curators or artists advance this empirical proposition either. I`m typing this in front of my recently completed painting` Revolutionary Icon,2014` . Next to it are the other paintings due to be exhibited in 2015. For a preview ring Philosophy Dept (UK) 0191 2300 681

4 Aug 14
15:12 CET


Wonderful - there has been a huge bias for way too long. It will take decades for the pendulum to centre gender neutral. Art lovers win now!

4 Aug 14
15:12 CET


To add insult to injury, Why no mention of my upcoming solo photography show in the Tate spotlight series this October??? Why are only future shows by men announced? this art newspaper is part of the problem in perpetuating and reproducing the misogyny that pervades the art world.

4 Aug 14
15:14 CET


FINALLY !!! Women need to be recognized by art museums and institutions.

1 Aug 14
19:10 CET


Organising exhibitions of works already accepted and marketed internationally as great(by male or female artists) is the easy option and the Tate likes this cushy number perspective that ignores the great (but not as yet marketed as great) women artists alive in England (in some cases they are within a ten minute taxi ride-almost on the Tate`s own doorstep !). I live hundreds of miles away from the Tate -how come I know about them but the Tate plays dumb and acts "as ignorant as swans" (as `Civilisation` Sir Ken Clark called the idle rich of his time ) ? That revolutionary art exists in Russia today is accepted by all except the Putinists. That revolutionary painting is being made in England today is something the Tate is actually blind to ? Rich artist-collectors in London seem just as blind. The Arts Council has at least awarded one of the women artists a small grant this year).

1 Aug 14
18:55 CET


I look forward to the day when the title of Artist requires no further specification of gender in media headlines. Henry Moore and Alexander Calder (and every other man who made or makes art) are never described as Man Artists-- they are simply Artists. The world's art-making women should be given the same respect. We could all try harder to equate an artist's legacy and legitimacy with their name and their work, and not their gender. (I would guess that your female colleagues don't hand out business cards with the title of Woman Freelance Journalist, Woman Columnist, or Woman Editor.)

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