This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.theguardian.com/artanddesign/2014/apr/11/tate-britain-boss-attacked-over-gallerys-direction

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Tate Britain boss attacked over gallery's direction Tate Britain boss attacked over gallery's direction
(about 3 hours later)
It is a fairly busy afternoon at Tate Britain and visitors are either in awe of Phyllida Barlow's gigantic, home-made art installation or baffled by it. But the gallery likes strong opinions – on the art, that is. It may be less approving of a remarkable attack on its director Penelope Curtis by art critic Waldemar Januszczak, who this week called for her head.It is a fairly busy afternoon at Tate Britain and visitors are either in awe of Phyllida Barlow's gigantic, home-made art installation or baffled by it. But the gallery likes strong opinions – on the art, that is. It may be less approving of a remarkable attack on its director Penelope Curtis by art critic Waldemar Januszczak, who this week called for her head.
Januszczak has aimed several swipes at Curtis, who in 2010 became the first woman to run Tate Britain, but he has now unleashed his strongest yet, arguing: "Curtis has to go. She really does."Januszczak has aimed several swipes at Curtis, who in 2010 became the first woman to run Tate Britain, but he has now unleashed his strongest yet, arguing: "Curtis has to go. She really does."
He was reacting to figures compiled by the Association of Leading Visitor Attractions that showed visitor numbers fell by 10% in 2013, down from 1.53m to 1.38m. That meant Tate Britain fell from 13th place in a league table headed by the British Museum to 18th place, overtaken by Chester Zoo, Edinburgh Castle, the National Maritime Museum and the British Library. Similarly, in the Art Newspaper's annual survey of museums, Tate Britain fell from 26th place to 38th. Its bigger, younger sibling, Tate Modern, fell from fourth to sixth.He was reacting to figures compiled by the Association of Leading Visitor Attractions that showed visitor numbers fell by 10% in 2013, down from 1.53m to 1.38m. That meant Tate Britain fell from 13th place in a league table headed by the British Museum to 18th place, overtaken by Chester Zoo, Edinburgh Castle, the National Maritime Museum and the British Library. Similarly, in the Art Newspaper's annual survey of museums, Tate Britain fell from 26th place to 38th. Its bigger, younger sibling, Tate Modern, fell from fourth to sixth.
Tate Britain argues that the fall is to be expected because for much of 2013 the gallery was a building site as its £45m redevelopment was completed. Januszczak disagrees. He said Tate Britain's present director had been "a disaster". The strength of his attack took most observers by surprise. "I first noticed what an appalling exhibition-maker she was when she co-curated the Modern British Sculpture show at the Royal Academy in 2011," Januszczak wrote. "It was, quite simply, one of the worst exhibitions I have ever seen. Subsequent shows at Tate Britain have continued the trend." Tate Britain argues that the fall is to be expected because for much of 2013 the gallery was a building site as its £45m redevelopment was completed. Januszczak disagrees. He said Tate Britain's present director had been "a disaster". The strength of his attack took most observers by surprise.
"I first noticed what an appalling exhibition-maker she was when she co-curated the Modern British Sculpture show at the Royal Academy in 2011," Januszczak wrote. "It was, quite simply, one of the worst exhibitions I have ever seen. Subsequent shows at Tate Britain have continued the trend."
Januszczak, a former art critic for the Guardian, reserved particular ire for the current show, Ruin Lust, describing it as "a pointless collection of different pictures of ruins … [a show] so thoughtless and awful, it makes a drop of 10% appear fortunate".Januszczak, a former art critic for the Guardian, reserved particular ire for the current show, Ruin Lust, describing it as "a pointless collection of different pictures of ruins … [a show] so thoughtless and awful, it makes a drop of 10% appear fortunate".
It was a devastating attack, but "one that needed to be made", Januszczak told the Guardian.It was a devastating attack, but "one that needed to be made", Januszczak told the Guardian.
"I've had tons of support, loads of people are agreeing with the main point, which is the exhibition making. That's what's so disappointing – this seeming ambition of Tate Britain to be Tate Modern-lite.""I've had tons of support, loads of people are agreeing with the main point, which is the exhibition making. That's what's so disappointing – this seeming ambition of Tate Britain to be Tate Modern-lite."
Curtis, a Glaswegian with a clipped English accent, ran the Henry Moore Institute in Leeds for 11 highly regarded years and had to be persuaded by headhunters to apply for the Tate Britain job, replacing Stephen Deuchar, who moved to the Art Fund. She hit problems immediately because of a prior commitment, the co-curation of a major show of British sculpture at the Royal Academy. The exhibition was widely and bitterly panned and disliked by some of the featured sculptors.Curtis, a Glaswegian with a clipped English accent, ran the Henry Moore Institute in Leeds for 11 highly regarded years and had to be persuaded by headhunters to apply for the Tate Britain job, replacing Stephen Deuchar, who moved to the Art Fund. She hit problems immediately because of a prior commitment, the co-curation of a major show of British sculpture at the Royal Academy. The exhibition was widely and bitterly panned and disliked by some of the featured sculptors.
Many of her doubters have been won round, though, by her supervision of the Tate collection's rehang, removing explanatory texts, bringing in surprises and arranging the works chronologically. She has successfully presided over a £45m redevelopment, bringing back much of the gallery's lost grandeur, which had been planned before her arrival.Many of her doubters have been won round, though, by her supervision of the Tate collection's rehang, removing explanatory texts, bringing in surprises and arranging the works chronologically. She has successfully presided over a £45m redevelopment, bringing back much of the gallery's lost grandeur, which had been planned before her arrival.
One of the biggest changes for visitors to Tate Britain is the increase in contemporary art on show. Go there today and you will walk from a room of 18th-century pastels to an empty gallery with Martin Creed's Turner prize-winning light being turned on and off. All part, she would say, of telling the story of British art – exploring what it is – in more depth.One of the biggest changes for visitors to Tate Britain is the increase in contemporary art on show. Go there today and you will walk from a room of 18th-century pastels to an empty gallery with Martin Creed's Turner prize-winning light being turned on and off. All part, she would say, of telling the story of British art – exploring what it is – in more depth.
It is true that some recent exhibitions have had particularly bad reviews, such as one on iconoclasm, Art Under Attack, which was Curtis's idea. The Daily Telegraph's Richard Dorment wrote: "When some bright spark at Tate Britain came up with the idea of doing a show about the history of iconoclasm in this country, why wasn't the plan strangled at birth?"It is true that some recent exhibitions have had particularly bad reviews, such as one on iconoclasm, Art Under Attack, which was Curtis's idea. The Daily Telegraph's Richard Dorment wrote: "When some bright spark at Tate Britain came up with the idea of doing a show about the history of iconoclasm in this country, why wasn't the plan strangled at birth?"
Others have fared better. Nearly 250,000 people visited its Pre-Raphaelite: Victorian Avant Garde show – "a steam-punk" triumph, said the Guardian's Jonathan Jones – and more than 212,000 went to the Lowry show – "one of the exhibitions of the year", according to Dorment.Others have fared better. Nearly 250,000 people visited its Pre-Raphaelite: Victorian Avant Garde show – "a steam-punk" triumph, said the Guardian's Jonathan Jones – and more than 212,000 went to the Lowry show – "one of the exhibitions of the year", according to Dorment.
The Guardian's Adrian Searle thought the ruins show was "great". Yes, the exhibitions were up and down, he said, "but they always are. They are up and down everywhere." He believes Januszczak has gone too far. "I think it is awful to say someone should go. I always respected Penelope a great deal when she was at the Henry Moore Institute and I think she has made Tate Britain livelier."The Guardian's Adrian Searle thought the ruins show was "great". Yes, the exhibitions were up and down, he said, "but they always are. They are up and down everywhere." He believes Januszczak has gone too far. "I think it is awful to say someone should go. I always respected Penelope a great deal when she was at the Henry Moore Institute and I think she has made Tate Britain livelier."
Simon Tait, president of the Critics' Circle, said he could not recall a critic calling for the head of a national institution but he defended Januszczak's right to. "Critics do more than simply review because they've got an inside knowledge of what goes on, they know the artists and curators. I don't necessarily agree with him but he's well qualified to have an opinion about these things.Simon Tait, president of the Critics' Circle, said he could not recall a critic calling for the head of a national institution but he defended Januszczak's right to. "Critics do more than simply review because they've got an inside knowledge of what goes on, they know the artists and curators. I don't necessarily agree with him but he's well qualified to have an opinion about these things.
Curtis was not willing to respond to Januszczak's remarks.Curtis was not willing to respond to Januszczak's remarks.
A spokeswoman for Tate said the organisation did not comment on individual reviews and opinions. There were good reasons for the drop in visitor numbers. "For much of 2013, Tate Britain was undergoing major building works that closed the Millbank entrance. The whole building reopened in November to great acclaim, since when audience numbers have steadily increased.A spokeswoman for Tate said the organisation did not comment on individual reviews and opinions. There were good reasons for the drop in visitor numbers. "For much of 2013, Tate Britain was undergoing major building works that closed the Millbank entrance. The whole building reopened in November to great acclaim, since when audience numbers have steadily increased.
"Published exhibition visitor figures for the last five years include five of the most popular exhibitions ever staged at Tate Britain: Francis Bacon, Turner and the Masters, Pre-Raphaelites: Victorian Avant-Garde and Lowry and the Painting of Modern Life." Critics will be scrutinising figures for recent shows, to be announced in September."Published exhibition visitor figures for the last five years include five of the most popular exhibitions ever staged at Tate Britain: Francis Bacon, Turner and the Masters, Pre-Raphaelites: Victorian Avant-Garde and Lowry and the Painting of Modern Life." Critics will be scrutinising figures for recent shows, to be announced in September.
Few expect Curtis's boss, Sir Nicholas Serota, to act on Januszczak's advice, and Curtis has many supporters in the art world. The artist Richard Deacon praised Curtis and said she was "doing a difficult job well". He added: "I thought the rehang ] was brilliant – she's introduced a real clarity. After the rehang and remodelling, I found myself getting lost at Tate Britain, and I'm somebody who knows the gallery really well – but it was a pleasure to be lost in it, to have to rediscover it. I think she is the only person who has looked at every single work in the store, and good for her."Few expect Curtis's boss, Sir Nicholas Serota, to act on Januszczak's advice, and Curtis has many supporters in the art world. The artist Richard Deacon praised Curtis and said she was "doing a difficult job well". He added: "I thought the rehang ] was brilliant – she's introduced a real clarity. After the rehang and remodelling, I found myself getting lost at Tate Britain, and I'm somebody who knows the gallery really well – but it was a pleasure to be lost in it, to have to rediscover it. I think she is the only person who has looked at every single work in the store, and good for her."