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Towards Tate Modern provides a new interdisciplinary account of Tate’s shifting position as a national arts institution. The book examines how earlier government directives impacted on Tate, which saw the organisation refocusing its aims and resulted in it pioneering new models for working across the public and private sectors. The decade prior to the opening of Tate Modern witnessed a changing political, economic, cultural and social landscape. As London was rebuilding its own vision, Tate re-configured its role as a public museum and gallery by engaging with the market. Tate re-imagined what a public museum and gallery can do, what it can look like and where it can be and, in doing so, responded to a new kind of audience with a larger appetite than before. Re-cast as a cultural and social forum, Tate Modern turned itself into a popular public event. This research considers how Tate Modern generated a set of new debates and what this might mean for the future role of the public museum and gallery. Towards Tate Modern will be of particular interest to academics and students, art practitioners and policy makers working in the fields of museum studies, policy studies, cultural studies, urban studies, and political and economic history, as well as those involved in archival research. It will also engage those wishing to widen their understanding of how an institution such as Tate Modern was created.
Jan Svankmajer enjoys a curious sort of anti-reputation: he is famous for being obscure. Unapologetically surrealist, Svankmajer draws on the traditions and techniques of stop-motion animation, collage, montage, puppetry, and clay to craft bizarre filmscapes. If these creative choices are off-putting to some, they have nonetheless won the Czech filmmaker recognition as a visionary animator. Keith Leslie Johnson explores Svankmajer's work as a cinema that spawns new and weird life forms ”hybrids of machine, animal, and non-organic materials like stone and dust. Johnson's ambitious approach unlocks access to the director's world, a place governed by a single, uncanny order of being where all things are at once animated and inert. For Svankmajer, everything is at stake in every aspect of life, whether that life takes the form of an object, creature, or human. Sexuality, social bonds, religious longings ”all get recapitulated on the stage of inanimate things. In Johnson's view, Svankmajer stands as the proponent of a biopolitical, ethical, and ecological outlook that implores us to reprogram our relationship with the vital matter all around us, including ourselves and our bodies.
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.