Tate is in crisis. The institution, which encompasses four museums, needs a radical overhaul, but its new director, Jessica Morgan, may not be the agent of change it claims to need. Tate itself acknowledges the need for transformation, hailing Morgan as an agent of change, but her background suggests she may maintain the status quo.
Morgan's credentials and limitations
Jessica Morgan is a highly rated curator of contemporary art, recently leading the Dia Art Foundation in the US to great acclaim, with a prior track record at Tate Modern. However, these strengths indicate she will stay within a comfortable groove. It is unlikely she will rush to mount a show about art and the Reformation, for example.
Neglect of older British art
Tate loves to identify with new art but owns a vast collection of older works, including British art since 1500. Tate Britain has become chronologically narrow, rarely exhibiting Tudor or Stuart art, focusing mostly on Victorian and later works. At least a Gainsborough show is scheduled for next year, but Tate needs a proper plan for its older British art. Morgan, despite her contemporary focus, should give this thought.
Problems at Tate Modern
Tate Modern is not without issues. While it can be magnificent, as with the current Ana Mendieta exhibition, it also suffers from over-hyped shows like the disappointing Frida Kahlo exhibition, which was problematic from the start. The question is why no one raised the alarm before critics panned it. Similarly, last year's Turbine Hall installation by Máret Ánne Sara was dire, yet no one at Tate Modern seemed to object.
Culture of complacency
These unforced errors, also seen at Tate Britain with its overly attitude-driven collection hang, point to a lack of self-questioning. Tate appears to have a culture of rigid self-belief, viewing criticism as enmity. This internal complacency needs urgent fixing. Moreover, Tate has become a brand, which is inappropriate for an art gallery. The transformation into a brand occurred in the late 1990s during an era of hyper-marketing, and today, PR and branding seem to determine values. Even Morgan's appointment was announced with a list of artist endorsements, a unnecessary pre-judgment.
Rethinking the institution
Morgan must totally rethink Tate, perhaps even allowing it to be called 'the' Tate again. The various outlets need attention. Tate St Ives is likable but arguably a cosy sideline. The annual Turner Prize is moribund. Tate is too set in its ways, dogmatically championing 'groundbreaking' art, but a museum should not take sides or strike attitudes.
Tate needs to surprise us. Morgan may bring a fresh eye, even if she looks like a safe pair of hands. I hope she proves to be a revolutionary Trojan horse.
