My Skin and The Du Cane and Boehm Faimily Group. After
Gawen Hamilton 1734-2000
Tate Modern is Britain's new national museum of modern art.
As class compositions change, each new economic force takes
over the mantle of British taste. Each succeeding social elite
must have its art, its brand around which secret codes and
systems of value can be exchanged. This is usually in the
form of what is to be tolerated and what is not, what's in
and what's out, who's in and who's out. New money needs to
be part of history. With money you can buy your way into art
history. With even more money you can shape the future of
that history.
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From Henry Tate's convincing the Chancellor of the Exchequer,
Harcourt, to help out with funds, to Charles Saatchi's position
as a patron and the Saatchi brothers' hand in the 1979 Thatcherite
assent; to the hacking out of an industrial age monument reinvented
with new money, displaying to all the City of London how good
it has been, how rich it has become, how powerful it is...
To inhabit the carcass of dead industries is a powerful metaphor:
not to sweep it away but to borrow into it, occupy it, show
power over the generation of power itself.
There will also be a full range of special exhibitions and
a broad public corporate programme of events throughout the
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Bankside Power Station has been transformed into Tate Modern by the Swiss architects Herzog & de Meuron. The former Turbine Hall, running the whole length of the vast building, now marks a breathtaking entrance to the gallery. From here visitors will be swept up by escalator through two floors featuring a café, shop and auditorium to three levels of galleries. At the top of the building is a new two storey glass structure which not only provides natural light into the galleries on the top floors, but will also house a stunning café offering outstanding views across London.
Tate Modern is supported by:
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Tate 2000 launch
in association with
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