Tate Directorship
The short-listed candidates for the Tate Directorship, who included Norman Rosenthal and Julian Spalding, were asked to prepare a seven-year scheme for the Tate. Serota's submission, on two sides of A4 paper, was titled "Grasping the Nettle". It analysed the various areas of Tate work and proposed future stratagems to deal with the imminent crisis caused by restricted government financial support, changing public sector management expectations and increasing art market prices. He saw many areas of the Tate's operations in need of overhaul, and concluded that the gallery was loved, but not respected enough. Tate Chairman, Richard Rogers considered this by far the best proposal submitted.
News of Serota's appointment as Tate Director was received enthusiastially by Howard Hodgkin, who wrote in The Sunday Times, "Nick Serota has enormous energy and demonstrated at the Whitechapel a tremendous sense of diplomacy. He is a passionate man, and indeed is quite unusual in this country in his commitment to modern painting and sculpture." In contrast, Peter Fuller made a scathing attack in Modern Painters magazine, saying that Serota would be incapable, by temperament and ability, of maintaining the Tate's historic collection.
Major expansion of the Tate Gallery had been seen as inevitable for two decades. In 1993, the creation of the National Lottery made it possible to anticipate the availability of major public funding for an enlarged Gallery. In 1995, Tate received £52 million towards the conversion of the former Bankside Power Station to create Tate Modern. The final cost was £135 million; Serota managed to secure the funds to make up the shortfall from a range of private sources. Tate Modern opened in May 2000 and quickly became a major tourist fixture of London. As well as housing acclaimed new works by Louise Bourgeois and Anish Kapoor, the Gallery has also provided the base for successful exhibitions of Donald Judd, Picasso, Matisse and Edward Hopper.
On 21 November 2000, Serota gave the Dimbleby Lecture in London. He started it by telling of a 1987 Civil Service enquiry which ranked the pay of the Tate Gallery director with that of larger museums such as the National Gallery, because the former "has to deal with the very difficult problem of modern art." He explained this:
| “ | For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents. | ” |
In 1998, Serota conceived Operation Cobalt, the secret buyback of two of Tate's paintings by J. M. W. Turner that had been stolen from a German gallery in 1994. The paintings were recovered in 2000 and 2002, resulting in a profit of several million pounds for Tate.
In 2001, Stuart Pearson Wright, winner of that year's BP Portrait Award, said that Serota should be sacked, because of his advocacy of conceptual art and neglect of figurative painting. In 2012, Ruth Dudley Edwards claimed that Serota had "used his power as head of the Tate galleries to promote talentless self-publicists and to encourage the proliferation of the ugly and the pointless".
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Famous quotes containing the word tate:
“Who let me love you two? Have I been wrong
To love you well who cannot love me long?”
—Allen Tate (1899–1979)