A spirited defence of Tate's curatorial policies has been issued by its chairman, Roland Rudd, following criticism that the institution lacks ambition and keeps its masterpieces out of public sight.
Treasures on Display, Not in Storage
In a direct rebuttal to an article by critic Jonathan Jones, Rudd emphasised that the gallery's most celebrated works are readily available for visitors to enjoy. He pointed to a specific example to counter the claim of hidden treasures. Mark Rothko's renowned Seagram murals were loaned to a major exhibition in Paris last year, but were promptly reinstated on Tate's walls upon their return to the UK.
Rudd also highlighted the significant Picasso exhibition currently running at Tate Modern. He noted that this display, which constitutes the United Kingdom's most comprehensive collection of the artist's work, has already attracted an impressive audience, welcoming more than 100,000 visitors.
A Diverse and Accessible Collection
The chairman's letter argued that the gallery's approach is one of inclusion, where historic and modern greats are presented alongside new talent. "The much-loved greats – from Dalí to Duchamp, and Hepworth to Hockney – are not 'out of view'," Rudd stated. He affirmed that these iconic works are all on display, positioned next to emerging discoveries and underappreciated gems within the gallery's spaces.
Re-evaluating the Turbine Hall Commission
The public debate also extended to Tate Modern's current Turbine Hall installation by Sámi artist Máret Ánne Sara, which Jones had described as "feeble". In a separate letter, visitor Liz Goddard from Brighton shared her evolving perspective on the work.
Goddard recounted that her initial view from the balcony left her unengaged, with the installation seeming dwarfed by the vast space. However, a subsequent visit, entering via the ramp, transformed her experience. Sitting on reindeer skins and listening to ambient sounds of wind, reindeer, and a narrator's voice, she felt the hall was transformed into an atmospheric wilderness.
She concluded that the perceived isolation of the work within the immense Turbine Hall was intentional, and praised Tate Modern for making a brave commissioning decision, suggesting the institution's choices may be more courageous than they first appear.
