Housed in the rejuvenated Bankside Power Station ( which isn't in far
off Battersea for those with poor navigation skills ), the Tate Modern will,
as its name suggests, house international works of art, contemporary and
modern, dated from 1900 onwards.The old, original, Millbank Tate, becomes the Tate British, focusing on British
Art from 1500 to the present day, which, with Tate Galleries in Liverpool and
St. Ives, provides a comprehensive set of outlets for the Tate to exhibit
its collections.
Opened by the Queen, despite the Daily Mail doing its damnedest to scare the c--p
out of everyone involved with rumours, masquerading as news reports, of
anarchy, mayhem and terrorism threatened from the Movement Against Monarchy
campaign when they had no plans at all to even protest at its opening, the Tate
Modern promises to be one of the most exciting and innovative galleries in the
world for a long time to come.
With the regeneration costs of Bankside Power Station being only a small
proportion of that required to erect the dismal and unpopular Millennium Dome
and its contents being far more interesting, Tate Modern looks like a much
better investment in the future.
Being far better placed for accessibility than the Dome and an almost guaranteed
permanence gives it a credibility which the Greenwich Tent has failed to
achieve. Which is an excellent start, and we haven't even considered its
contents yet.
With 6,000 square metres of display space, spread over seven levels, the Tate
is now able to display some 60% of its collection compared to the almost
minuscule 15% which could be crammed into the Millbank Gallery.
Its opening has met with almost universal applause, but there has been some
disquiet, lack of enthusiasm and downright complaint from a rather unexpected
quarter.
Art critics have complained about the Tate's decision to group works of art in
terms of subject matter and not in terms of artist or chronologically. The
biggest and most universal complaint seems to be that, "It is confusing".
Really ? Well now those art critics know exactly how the average man and woman
in the street feels when confronted by works which they don't understand, in
galleries which they find daunting and intimidating.
And making art accessible to real people is what galleries should be about.
Whether the Nude, Action and Body suite becomes known as the Tits and Bums
Gallery can only be speculated upon, as the commoners home in on something
which they may have a perverse desire to see, but so what if it does ?
Anything which breaks down the barriers between art and its audience, increases
the audience size and makes art accessible to the masses, and not a clique of
stuck-up critics who get confused by new display strategies, has got to be a
good thing.
Despite what these critics may tell us about how we should perceive art, its
meaning and significance; there's nothing wrong with a healthy dose of, "I
don't know if it's art, but I know what I like".
People don't listen to music they don't like and they still won't enjoy it just
because someone tells them it's good, no matter how many times they listen to
it. And with art, starring at a painting or sculpture, hoping for a revelation,
isn't usually going to work either.
Getting bums on seats, people into galleries to see what they like, is the
first step in letting them decide what they like. They may be uneducated fools
by critical standards, but everyone has to start somewhere.
Whether they stick with their initial opinions or modify them as they are
exposed to works they would never otherwise have seen is their choice, and
providing for people to make that choice is what is all important.
Art critics can jump up and down, and moan about the Tate's decision as much as
they want; I'm on the Tate's side here, as were the French Academy in the 17th
Century when such a theme was first established.
Seeing so many critics in such a floundering mess may just be the catalyst
needed to get the people in, if for no other reason to see what the fuss is
about or to join the groups laughing at the obviously discredited, and of
limited viewpoint, critics.
If the Tate Modern does nothing else, it has shown these moaning art critics
to be superficial and irrelevant. They have damaged their own reputations more
than anyone else could; well, except for That's Life getting them to
genuinely applaud works done by Chimpanzees with a bucket of paint.
It has not been accessibility to galleries which has kept people away from art,
it has been the notion that all who don't understand, or appreciate in the
critic's terms, are ignorant, and people don't volunteer to be seen to be
showing up their ignorance.
Many critics have shown themselves to be equally ignorant now and have levelled
the field. We should sincerely thank them for their almost suicidal outrages;
we can join with the Tate's decision, agree with it, and ask, what would you,
the so-called art critic, know about it then ?
Ah, liberation, at last.
No longer will the great unwashed feel ashamed or embarrassed that they don't
understand a piece of work when a critic tells them it's a masterpiece; their
view is now as valid as the next man.
Nor need they hang their heads in shame when told that the piece they adore
is possibly the worst example of its form ever created.
I personally think that Van Gogh's Sunflowers is the biggest
load of c--p that I have ever seen, and have been vocal upon that point many
times, and to the embarrassment of the leaders of school parties intent on
telling their pupils that it is one of the greatest works of art known
to man.
I have nothing by way of enthusiasm for Turner either.
I respect those who disagree with me, but I have a right to my beliefs and we
all have a right to debate and make informed decision based on all viewpoints.
I'm sure there are many works which I think are superb which have been
critically chastised. That doesn't worry me; I have seen things which have
enlightened me, even changed my life and my views.
Hearing people walk round a gallery, proudly declaring their views on what's
on offer, "C--p, c--p, okay, c--p, hmm, c--p ... wow, look at that !", should
be the Tate Modern's measure of its success.
And success on a grand scale should be forthcoming if the experiences of
doubting, cynical London Cabbies continues.
Invited, almost en-masse, to a pre-opening viewing, this group, who by their
own accounts knew little about art and were less than complementary about piles
of bricks and carved up cows, upon leaving, genuinely appeared to have
found something which had appealed to them in many cases and often indicated
that they'd be back again.
If a Cabby's cheerful Cockney chatter has now turned to, "I saw that Tracey
wotsit's work at that new Tate place; bleedin' marvellous it is", we may well
be seeing a new renaissance being born.
Congratulations to everyone involved.
Getting there
The Tate Modern can be found in the old Bankside Power Station off Summer
Street, SE1. The nearest tube is Southwark.Admission is free and open to all.
As well as a cafe, auditorium, shop and public restaurant, there is an
education area, seminar and film rooms, entertainment facilities and a
member's bar.
You can contact the Tate Modern on +44 (0) 20 7887 8000 for further
details.
