tag:blogger.com,1999:blog-1441164155286448763.post8120727635735084819..comments2024-03-25T18:27:37.374+00:00Comments on The Kissed Mouth: A Love/Tate RelationshipKirsty Stonell Walkerhttp://www.blogger.com/profile/08342964877965021654noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-1441164155286448763.post-45448266219102459482013-08-17T18:34:18.986+01:002013-08-17T18:34:18.986+01:00Gosh, let me think. I know there may well be a pr...Gosh, let me think. I know there may well be a pre-raph squirrelled away in the 'special' room that I couldn't find (another victim of no signage), but thinking back I can't place it in the room so it might be that it wasn't hung (or was in the secret room). There was some modern-ish stuff, but only what fitted in the 'History of British Art' rooms. Oddly I was alright with the periods I only had a vague knowledge of, but the nineteenth century left me frustrated. Maybe the lesson is that the Tate is now only for people without specialisms...Kirsty Stonell Walkerhttps://www.blogger.com/profile/08342964877965021654noreply@blogger.comtag:blogger.com,1999:blog-1441164155286448763.post-59102249146017577642013-08-15T21:16:21.838+01:002013-08-15T21:16:21.838+01:00I hope all the modernist stuff has been shipped ba...I hope all the modernist stuff has been shipped back to that soulless barn Tate Modern but it seems sadly some has been left behind.<br />Also what of King Cophetua? I'm worrying because you didn't mention itdavid thompsonhttps://www.blogger.com/profile/05692146122552088160noreply@blogger.comtag:blogger.com,1999:blog-1441164155286448763.post-89971229297043083372013-08-15T08:43:27.155+01:002013-08-15T08:43:27.155+01:00Dear Kirsty
I am of the 'if it ain't broke...Dear Kirsty<br />I am of the 'if it ain't broke, don't fix it' school of thought - placing paintings where the glass causes too many reflections is never a good thing. I understand that sometimes things need to be refreshed and that it can give the viewer a different way to look at things, but do wonder why, in this case, the paintings needed to be placed like this. A thought provoking and interesting post as always - thank you.<br />Best wishes<br />EllieEllie Fosterhttps://www.blogger.com/profile/12437259693600577503noreply@blogger.comtag:blogger.com,1999:blog-1441164155286448763.post-80250098692236098762013-08-12T06:16:20.135+01:002013-08-12T06:16:20.135+01:00It definitely felt that there was very little thou...It definitely felt that there was very little thought behind the rehang, which is awful because I'm sure there was *a lot* of thought behind it. I don't mind a big shed of pretty but in such an important museum you can't cut out some of your audience due to disability and bad lighting. I've read loads of great reviews of it in the papers but it seemed that many of them were not specialists or wanted to know more, just to experience the history of art in a designed way. I feel churlish to want my way but I'm sure I'm not alone and it is credit to the Tate's collection that we think they can do so much more with it.Kirsty Stonell Walkerhttps://www.blogger.com/profile/08342964877965021654noreply@blogger.comtag:blogger.com,1999:blog-1441164155286448763.post-686522338403776022013-08-11T16:19:23.653+01:002013-08-11T16:19:23.653+01:00I hope this isn't a new trend in curatorial pr...I hope this isn't a new trend in curatorial practice, as the Hunterian has similarly crowded their walls (and painted them baby blue) in their rehang. While you can't argue with wanting to get more art out there, the point becomes lost if you can't view the work due to the lighting, or the experience becomes confused due to placement. Your first example in particular made me think that the juxtaposition was how one might find such works in a private home... but the Tate has, I hope, a more didactic mission and isn't simply a big building for showing the nation's pretties.<br /><br />Great post, as always.Anonymousnoreply@blogger.com