“Not a single such rehang has ever made a convincing, coherent case for British art – and the latest is no exception.
“To try to pretend it still matters, Tate Britain ostentatiously ‘rehangs’ its collection every few years,” he wrote. A sculpture by Mona Hatoum points up the contribution of migrant and refugee artists in Tudor Britain, while a drawing by Pablo Bronstein deliberately “resurfaces” the existence of queer communities in Georgian London.įor Jones, writing last week, the Tate’s “worthy” efforts flow from the right set of principles but are “predictable and dull”. Works by living artists have been dotted among the paintings from the 16th, 17th and 18th centuries, to highlight particular ideas and connections. Perhaps the most arresting changes at the Tate are the mini-interventions. “But it’s also about what happens beyond the exhibition space in terms of Tate’s culture, approach to curation, commissioning and acquisition, which I hope will undergo its own radical revisioning and internal interrogation, so we hear different, bolder and less apologetic conversations about who is and isn’t being represented in the art world.” “I’m glad Tate Britain has taken the steps to reflect artists of colour in its rehang and hope they will continue to step into the future embracing the reality of intersectionality. “Any attempt to redress inequity in arts and culture will get my attention,” she said. For Joy Francis, executive director of Words of Colour and co-curator at the Museum of Colour, a direct approach is a good thing. And among gallery visitors the debate also seems to centre on how blunt the social arguments should be. The Financial Times welcomed the rehang of the Tate’s free-to-view collection, but noted that the result “defiantly claims art as primarily social and political history”. Major museum rehangs, together with swings in emphasis, have always been staged periodically of course, sometimes controversially, but the decisions being taken now are inevitably seen in the light of the “culture wars”: the new ethical battles being waged even though no one claims to want to fight them. From this autumn the museum is also to run a string of “Hunterian Provocations” designed “to explore issues around the display of human remains and the acquisition of specimens during British colonial expansion”. The notorious Irish Giant, the huge skeleton of Charles Byrne, has been removed after 200 years, and is now only glimpsed in the background of a portrait of Hunter, the man who bestowed the collection. “The Met’s purchase of Velázquez’s painting in 1971 made headlines at the time, but scholars and the press said practically nothing about the man depicted,” said David Pullins, associate curator in the museum’s department of European paintings, when the show opened last month.Īnd at the Hunterian, the London surgical museum, a recent rethink has altered its displays of anatomical oddities. At the Metropolitan Museum of Art in New York, focus has moved over from Spanish master Diego Velázquez to the work of his enslaved Afro-Hispanic assistant, Juan de Pareja, an artist until now known largely only for the portrait painted of him. The Tate rehang is one of a wave of important changes going on inside European and American art galleries and museums, as the heritage world shifts to reflect a wider range of contributors and address the glaring prejudices of the past. It does not store any personal data.A Fisher Girl’s Light (A Pilgrim of Volendam returning from Kevelaer) by Marianne Stokes, 1899. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin.
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