CFP: The World Goes Pop - Tate Papers

Deadline: May 1, 2015

In September 2015 Tate Modern will present the exhibition The World Goes Pop, a ground-breaking reassessment of pop art. By mapping the pop phenomenon from a global perspective - encompassing pop art produced in the 1960s and 1970s in Eastern Europe, Latin America, Asia and the Middle East, as well as Western Europe and the US - the exhibition will seek to challenge historiographic narratives that affirm the hegemonic position of New York art and will explore pop beyond the mainstream.

The often ambivalent and subversive nature of these global manifestations of pop is of particular importance. Reacting to the growing dominance of the American post-war economy and media around the world, pop art sometimes took the form of a destabilising reversal of the normative messages associated with American mass culture and consumerism. This approach was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity. By surveying these global engagements with pop, the exhibition will offer an opportunity to re-examine pop’s origins and politics, as well as question its existence and significance as a global movement.

To accompany this exhibition, Tate Papers aims to publish a range of scholarly articles addressing pop as a truly global phenomenon. Questions and issues that may be addressed in the papers include:

  • How did national traditions and differing social and political contexts inform local manifestations of pop art? How did these manifestations cohere and/or differ from one another? Case studies may include (but are not limited to) Brazil, Argentina, Mexico, Mali, Nigeria, France, Spain, Germany, Belgium, Czech Republic, Poland, the former Yugoslavia, Slovenia, Russia, Iran, China and Japan.
  • How did pop art reinforce or undermine conceptions of gender in these different contexts?
  • Was pop art an international language and if so what were its defining traits?
  • How could pop art aestheticise commodity culture and yet be a tool for political opposition? How could these two conditions co-exist in different settings and to what extent did they influence or impair each other?
  • How can we define the reciprocal influence between pop art and manufacturing and technology, news media, and mass communications?
  • What was the relationship of pop art to performance and film?

Tate Papers is an online, peer-reviewed research journal that publishes scholarly articles on subjects that reflect Tate’s collection, exhibition programme and activities as an art museum.

If you are interested in submitting an article, please contact the Managing Editor, Christopher Griffin, at

Please note that articles should be c.4,000–8,000 words in length and written in English. Articles accepted for publication following peer review will be published in the autumn issue of Tate Papers in 2015.

Further information about the journal and the submission process can be found here.

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