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Tate examines the increasingly blurred borders between painting and performance, hot on the heels of the opening of the new performance space, Tate Tanks.
Niki de Saint Phalle, Shooting Picture, 1961
In the 1950s artists such as Pollock brought gesture to the fore, and the Viennese Actionists rejected the whole notion of art objects in favour of theatrical events. More recently, artists such as Cindy Sherman have used their bodies as subjects. Tate’s show looks at their work as well as that of younger artists inspired by the idea of action and the stage.
£5 with National Art Pass (standard entry £10)
Sun – Thu, 10am – 6pm (last admission to special exhibitions is at 5.15pm)
Fri – Sat, 10am – 10pm (last admission to special exhibitions is at 9.15pm)
Telephone 020 7887 8888
What the critics say
Such daring! Such insight! Such curatorial cheek! By the time you reach Room 13 – unlucky for some – that impulse has long since faded
Tate Modern's sprawling survey of painting and performance art featuring Hockney, Pollock and Klein, is a fascinating, messy, and entertaining show
Bodies present and absent are at the heart of this awkward and largely disappointing exhibition, which sets out to examine the relationship between painting and performance art since the 1950s
Tate's bracketing of brush and body opens with two action-packed works from its own collection: one of Jackson Pollock's early dripped and dribbled paintings and David Hockney's 'A Bigger Splash'