As Jessica Morgan steps into the driver's seat at Tate, art lovers are bracing themselves for a potentially seismic shift in the way Britain's premier modern art institution operates. With her impressive CV and track record at the Dia Art Foundation, expectations are sky-high that she'll inject some much-needed dynamism into an organisation facing growing criticism over its exhibition choices, internal culture, and reliance on branding.
The elephant in the room is Tate Britain's neglected British art collection, dating back to 1500. Critics argue that Morgan's specialism in contemporary art might inadvertently perpetuate the very 'groove' Tate is accused of being stuck in – neglecting its rich heritage in favour of trendy, crowd-pleasing exhibitions. The recent Gainsborough exhibition slated for next year is a step in the right direction, but many are calling for a more comprehensive strategy to showcase the institution's vast collection.
Tate Modern has also come under fire for inconsistent shows that either dazzle or disappoint. The Ana Mendieta exhibition currently on display is a highlight, but last year's Turbine Hall installation and Frida Kahlo show were met with critical backlash, raising questions about the museum's ability to self-reflect and adapt. Morgan will need to tackle this culture of 'rigid self-belief' head-on if she hopes to win over critics.
The Turner Prize, once a beacon of innovation, is now seen as staid and dogmatic, reflecting Tate's perceived fixation on championing the latest art fads. Some argue that a museum should take a more nuanced approach, embracing unexpected choices rather than rigidly adhering to its brand identity. The institution's history – marked by a hyper-marketing-driven expansion in the 1990s – has contributed to this perception of Tate as a branding machine, ill-suited to its art gallery roots.
Morgan's tenure is thus poised on the precipice of revolution or stagnation. As she brings her 'fresh eye' to the table, one question hangs in the balance: can she be the game-changer that Tate needs, or will she become just another cog in the institution's machinery? The art world holds its breath as Morgan sets out to prove herself a true agent of change – a revolutionary Trojan horse capable of shaking up the status quo at Britain's leading modern art institution.