Editorial – July 2017

WHOLESALE GRATIFICATION 

In //--> the /* xin2 */ last issue I noted the gradual but relentless erosion of space allocated to historical google_ad_width = 970; pictures in Tate Britain. This

contraction will now

accelerate because the collection is to be re-hung, yet again, on this occasion thematically
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– a policy undoubtedly designed to demonstrate the google_ad_height = 90; State Art Commandment that all roads shall lead to the Usual Suspects. Long gone are the reassuring
days of

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my youth google_ad_slot = "7160667483"; when a regular visitor to Millbank would know exactly where to find the enduring gems of British art. This trend of
squeezing the historical is also inevitable because google_ad_slot = "6023194682"; new
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art increases as a percentage of the collection.

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Hedging their bets, and in order not google_ad_width = 970; to miss something the future decides /* 9-970x90 */ is important, the Tate now acquires anything by anyone. To them the idea of exhibiting discernment is as damningly reactionary as the idea of figurative art itself. The result is that Serota’s true legacy is

not really all those expensive new buildings and extensions but his total surrender

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to mediocrity.

A well-researched article on the Guardian website recently arrived at the startling, though not google_ad_height = 90; entirely surprising conclusion that during //--> Serota’s recently concluded 28-year tenure the number of works in the Tate’s holding – excluding the Turner google_ad_height = 90; Bequest – doubled. Serota added over 30,000 new items, the majority of them box fresh. We’ve pointed google_ad_width = 970; out previously in these pages

that the Tate’s stock has grown every two years by more works than the National Gallery has
acquired in total in
the 193 years of its existence. The irony here is
that this massive
growth, both of the collection and the galleries in which to house some of it, has taken place during a period when scarcely a month passed without warnings of
dire consequences if more public subsidy wasn’t found. On the evidence google_ad_client = "ca-pub-3967079123942817"; of the collection alone, and
for all Serota’s gloomy predictions

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to the contrary, the Tate has enjoyed a golden age of expansion during which it swallowed far more than its fair share of the national
arts budget.

Most of the work acquired during the Serota years

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is by a roll call of artists you’ve never heard of, many of whom are not only

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living but young, and whose efforts wouldn’t

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have merited google_ad_client = "ca-pub-3967079123942817"; preservation in what at least in theory, until Serota took over, had always been a repository for choice works

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of proven quality. Not any more. Today, the collection is home to the kind of instantly forgettable trivia we see in Tate
Modern’s latest

certain

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