In 1861, the death penalty was abolished for sodomy in Britain; just over a century later, in 1967, homosexuality was finally decriminalised. Between these legal landmarks lies a century of seismic shifts in gender and sexuality for men and women. These found expression across the arts as British artists, collectors and consumers explored transgressive identities, experiences and desires. Some of these works were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works showcase the rich diversity of queer British art. This publication, the first to focus exclusively on British queer art, will feature sections on ambivalent sexualities and gender experimentation amongst the Pre-Raphaelites; the new science of sexology's impact on portraiture; queer domesticities in Bloomsbury and beyond; eroticism in the artist's studio and relationships between artists and models; gender play and sexuality in British surrealism; and love and lust in sixties Soho. 00Exhibition: Tate Britain, London, United Kingdom (05.04.2017-01.10.2017).

Accompanying our 2020-21 Haegue Yang exhibition at Tate St Ives, this beautiful exhibition book focuses on the context of the Cornish landscape and its ancient archaeological heritage as an important point of departure for Yang. A vital expansion of the ideas that punctuate the Tate St Ives exhibition, the exhibition catalogue brings together installation photography and new texts on the artist. Yang's work combines materials, theories and cultural references to make astute and surprising connections between local contexts and wider geographies and histories. Recurring themes of migration, postcolonial diasporas, political struggle and social mobility underpin Yang's research, culminating in a body of work that is an apposite comment on our own time. Born in South Korea in 1971, Haegue Yang is renowned for creating immersive environments from a diverse range of materials. Yang's sculptures and installations conjure abstract narratives which play with our sensory pre-conceptions of scent, sound, light and tactility. Often using recognisable household objects, her work liberates forms from their functional context and applies new connotations and meanings to them. Interweaving industrially made objects with labour intensive and craft-based processes, Yang articulates her interest in folk and pagan cultures, and their deep connection with seasonal rituals in relation to natural phenomena.

A lavishly illustrated, beautiful collection of highlights from the Tate collection over the past 500 years Tate Britain is the home of British art from 1500 to the present day. This guide to the collection provides an essential introduction to the extraordinary development of British art over the centuries. British art is notable for genres unique to itself: group portraits, known as "conversation pieces," focusing on social relations between friends, family, and allies; themes from British literature, particularly Shakespeare, Milton, and Tennyson; and topical subjects in the late 18th and early 19th centuries reflecting the wars with France and the scientific innovations of the Industrial Revolution. The art from Britain in Tate's collection is rich with imaginative invention and reinvention, and this panoramic book celebrates this aesthetic ingenuity as an ongoing story, revealing how 500 years of art can act as a fascinating lens through which to deepen our understanding of ourselves and society, past and present, in both Britain and in the rest of the world.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

At the gallery, Luna is transfixed by the famous art, but her classmate Finn doesn't seem to want to be there at all. Finn's family doesn't look like the one in Henry Moore's 'Family Group' sculpture, but then neither does Luna's. Maybe all Finn needs is a friend. Join Luna and Finn at the Art Gallery and step inside famous works of art by Van Gogh, Picasso, Jackson Pollock and more! Can you spot all the art?

Year 3 is one of the most ambitious records of citizenship ever undertaken. Using the medium of the traditional school class photograph, this epic work captures tens of thousands of London schoolchildren from a single academic year. Mapping a picture of the present, the artwork captures a milestone year in a child's personal development: the moment when they become more conscious of the world beyond their immediate family. It is a critical time for them to develop confidence in all areas of life, to understand more about their place in the changing world and to think about the future. Depicting rows of children sitting or standing alongside their teachers and teaching assistants, Year 3 reflects this moment of excitement, anxiety and hope. Year 3 is more than a portrait of a generation however: it documents and explores, in a way never before attempted, a range of urgent ideas connected to the UK, and to our world, today. This book takes the photographs as a starting point and looks ahead, commenting on and contextualising the artwork and its message, but also providing a platform for new voices, and a new set of ideas. Year 3 is less a commemoration and more an active extension of the artwork itself: 'a glimpse of the capital's future, a hopeful portrait of a generation to come.'

Wyndham Lewis (1882-1957), the self-styled 'Enemy', was arguably the most significant British artist-writer of the twentieth century. As well as creating a unique oeuvre of paintings and drawings, he wrote short stories, novels, essays and books on philosophy, literature, politics and cultural criticism. A draughtsman of exceptional skill and verve, he also pioneered cutting-edge modernism in Britain before the First World War, leading the Vorticist movement and editing its typographically startling journal Blast. Lewis, along wth figures including and sculptor Gaudier-Brzeska and poet Ezra Pound, turned London into an international 'vortex' of creative activity. His cultural revolution was brought to a halt by the First World War, in which he served as an artillery officer and as a major official war artist.