{"id":343697,"date":"2025-12-12T18:36:07","date_gmt":"2025-12-12T18:36:07","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/343697\/"},"modified":"2025-12-12T18:36:07","modified_gmt":"2025-12-12T18:36:07","slug":"dont-blame-maria-balshaw-for-tate-moderns-failings-its-lack-of-ambition-goes-much-deeper-tate-modern","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/343697\/","title":{"rendered":"Don\u2019t blame Maria Balshaw for Tate Modern\u2019s failings. Its lack of ambition goes much deeper | Tate Modern"},"content":{"rendered":"<p class=\"dcr-130mj7b\">In the last nine years Tate has had some hits, but its misses have become embarrassing. Tate Modern\u2019s Turbine Hall <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2025\/oct\/13\/maret-anne-sara-turbine-hall-review-tate-modern-london\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">is currently occupied by a feeble installation<\/a> that would be weak in an ordinary-sized art space, let alone this gigantic one. It\u2019s become genuinely hard to understand what Tate\u2019s priorities are when it chooses artists for the annual Turbine Hall commission. And the Turner prize is even more mystifying. Once the stage of shocking, provocative art that engaged \u2013 whether they were for or against \u2013 a massive public, it has retreated into wilful obscurity, its trips around the UK starting to seem part of a studied wholesomeness. What\u2019s the point of <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2025\/sep\/23\/turner-prize-2025-review-cartwright-hall-art-gallery-bradford-city-of-culture\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">staging it in Bradford<\/a> when the shortlist just exports the enigmatic tastes of a metropolitan elite?<\/p>\n<p class=\"dcr-130mj7b\">Is Maria Balshaw, <a href=\"https:\/\/www.theguardian.com\/culture\/2025\/dec\/12\/maria-balshaw-tate-director-art-culture\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">who is quitting her post as director of Tate<\/a>, solely responsible for this? No, but perhaps she is courageously taking the blame and allowing the institution to reinvent itself as it needs to, fast. The achievements Tate stresses in its announcement of her departure centre on how she has \u201cdiversified\u201d the collection, exhibition and audiences. But in that noble quest, there has been a loss of artistic ambition, aesthetic thrills, raw horror and beauty. Sometimes we really do want art for art\u2019s sake and Tate has lost sight of that.<\/p>\n<p class=\"dcr-130mj7b\">This is appallingly evident in the collection displays, which critics don\u2019t often write about but visitors have to endure. Tate Modern\u2019s galleries have slid into insulting incoherence, and in the last few years treasures like its Rothkos, Picassos and surrealists have often been out of view. The rehang at Tate Britain did get critiqued in 2023, <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2023\/may\/23\/tate-britain-rehang-review-this-is-now-the-museum-where-art-goes-to-sleep\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">with justifiable harshness<\/a>, for it puts politics before art, patronising everyone with loftily proclaimed yet naive readings of British history \u2013 such as criticising baroque artists for not being Ranters or Hogarth for being heteronormative. I can think those things for myself. Or perhaps better things.<\/p>\n<p class=\"dcr-130mj7b\">There have been some great Tate shows too, yet they were often marred by silly side battles. I was astounded by the <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2022\/oct\/03\/cezanne-gags-mountains-murder-tate-modern\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">superb C\u00e9zanne blockbuster<\/a> in 2022. It didn\u2019t worry me that contemporary artists were invited to make irrelevant, politically charged interventions \u2013 but in truth, when you are trying to understand what C\u00e9zanne is up to in paintings that pixelate the sunburnt rocks of Provence into cubism and abstraction, it doesn\u2019t help to also have to work out what makes one of these stony landscapes colonialist. It would have baffled Edward Said.<\/p>\n<p>Bathers (Les Grandes Baigneuses) at Tate Modern\u2019s C\u00e9zanne exhibition, 2022.  Photograph: Guy Bell\/Alamy<\/p>\n<p class=\"dcr-130mj7b\">Yet since C\u00e9zanne and Rodin, the brilliant retrospectives of modern greats that used to grace Tate Modern \u2013 it began, back in the noughties, with the unforgettable <a href=\"https:\/\/www.theguardian.com\/culture\/2002\/may\/07\/artsfeatures\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Matisse Picasso<\/a> \u2013 have thinned out. Tate brags about <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2025\/feb\/25\/leigh-bowery-review-tate-modern\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Leigh Bowery!<\/a> as a highlight of Balshaw\u2019s time but this was a wasted opportunity: the great, unmissable exhibition would have been one that reunited all Lucian Freud\u2019s portraits of Bowery.<\/p>\n<p class=\"dcr-130mj7b\">So the critic moans and gripes and \u2013 guess what? \u2013 the public agree. People have voted with their absence. Presumably it\u2019s the poor attendances at Tate\u2019s museums that are behind Balshaw\u2019s departure. But she should not be made a scapegoat by an institution that simply ploughs on regardless. Tate has made arrogant, crass choices to put ideology ahead of art, worthiness ahead of aesthetic pleasure and bad politics over thoughtful radicalism. It needs to change its ways, not just its boss. Otherwise, given that Penelope Curtis left Tate Britain after criticism in 2020 while its current male head seems impermeable to an even worse performance, this will look like another misogynist removal of a powerful woman.<\/p>\n","protected":false},"excerpt":{"rendered":"In the last nine years Tate has had some hits, but its misses have become embarrassing. Tate Modern\u2019s&hellip;\n","protected":false},"author":2,"featured_media":343698,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[449,458,459,64,63,460,134],"class_list":{"0":"post-343697","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-au","12":"tag-australia","13":"tag-design","14":"tag-entertainment"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/343697","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=343697"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/343697\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/343698"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=343697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=343697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=343697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}