Results 1-10of 26 Reviews
Rotherham, United Kingdom
August 8, 2012
From journal Musuems and Galleries
London, United Kingdom
September 3, 2011
From journal Low Cost London
Brighton, England, United Kingdom
July 7, 2011
From journal Museums and galleries in London
Southend, United Kingdom
April 6, 2010
From journal More to do in London
February 15, 2010
From journal Things to Do in London
April 16, 2001
The collection of modern British art outgrew its old home in Pimlico and was moved from the gallery now christened the Tate Britain to the new gallery. It stands in a converted power station on the south bank of the Thames opposite St Pauls. It is a striking landmark with a great colossal bulk and a central freestanding chimney that towers above the river. It was converted by the Swiss architects Herzog and Meuron who turned a derelict power station into a sparkling new art gallery.
To reach it is very easy. It forms the focus of most people's wander along the Thames Walk (see other entry) so you could walk to it from Waterloo if you arrive on the Eurostar. But from another part of London alight at Blackfriars tube where you can stroll across the river or Cannon Street where you can cross on Southwark Bridge. Entry can be from the river side or more impressively from the east which takes you directly into the main turbine hall.
This is colossal and designed for gigantic works of art, many of them so big you can crawl inside. The turbine hall is seven storeys high and on the eastern face, reachable by escalators are the galleries themselves. They have broken with the usual historical and chronological order of hanging the artworks and have grouped them under the headings Still life,Landscape,Nude and History. The artworks are rotated so that you will not see the same thing when you revisit and are enlightening and very entertaining.
On the first level are the landscapes/still life including surreal sculptures and paintings. Salvador Dalis 'Transfiguration' is on display and the sculptures including his 'lobster telephone' are very impressive. On the second level is Max Ernsts' Celibes and impressive work by Matisse, Duchamp, Picasso and Andy Warhol. Fascist art also seems to be on display and the exhibt on propaganda in the Spanish civil war was very moving. But it is the next level - Nude/Action/Body - which gets the most reaction. At one point you enter a darkened cinema auditorium where a bearded man dances naked in slow motion to music. To observe the reaction of old ladies up from Surrey for the day is hysterical...."Ooohh... look at that man...he's showing his...."
But the Tate Modern has shown considerable flair in its design. Terraces face the river with comfy armchairs and reading matter for visitors. The views across the Thames taking in the Millennium bridge and the dome of St Pauls are fantastic. There are better views from the 7th level where you can look down on Shakespeare's globe and see Tower Bridge in the distance. There are plans to take people up another 93 feet to the gallerys central chimney
for 360 degree views across London.
POSTSCRIPT FEBRUARY 2002
Hurrah! The Millennium Bridge is finally open. After nearly two years and five million pounds - 'the blade of light' is now accessible to the public. Having traversed it for the first time I have to say that it is an exceptionally beautiful bridge. The intricate silverwork set against the dome of St Pauls or the monolith of the Tate Modern is something special. It is rather high which means good views up and down the Thames as far as Tower Bridge. The Globe and HMS Belfast can now be seen from a birds eye view.
And what about the famous wobble? The engineers at Ove Garup have cured it with stabilisers and it is as solid as a rock. Unfortunately the damage has been done and every guidebook for the rest of time will probably mention the wobble as a cautionary tale (especially the mean ones such as Lonely Planet). But on the other hand there is the fact that all publicity is good publicity....
From journal London - Cultural Powerhouse of Europe
Ayr, Scotland, United Kingdom
December 26, 2005
From journal December in London: Theatres, Art, and Antiquity
July 1, 2003
Some very moving art work here is enhanced I feel by the curatorial decision to present works by theme rather than by chronology. Most moving for me were some of the pre-World War I artists who depicted a growing gloom and threat in their works. Many were unknown to me until I saw their work here. The work of George Grosz, in particular, arrested my attention.
The Gallery seems to be particularly strong in its sculpture collections. There’s Giacometti, whom I personally don’t like, but also Sir Jacob Epstein, Naum Gabo, and the incomparable Henry Moore, all of whom I do like very much indeed. One of my favorites is Patrick Heron’s gentle painting, "Azalea Garden May, 1956,"that captures the British love of gardens. There’s the strident and bold Mark Rothko with his "Red on Maroon,’ and "Light Red Over Black," both explorations in color synthesis. And Picasso’s "Weeping Woman," strikes my eye as an abstraction made viable to ordinary eyes.
This is a user-friendly place with the inclusion of an art library area with comfortable seating and spectacular views of the river, as well as a spiffy, modern café just off Turbine Hall where you can catch a bite to eat, though it is more formal than the eateries of other museums where you self-serve. Here, eager young people wait upon you and orders come swiftly. The spaciousness of this gallery, its highlighting of the scenic assets of its location, and its fostering of thematic comparisons between artists usually separated by time, won me over. I’d visit again, as the gallery adds and subtracts often enough to provide a different scene for repeat visitors and London’s free policies encourage returns.
From journal First Time London - Mostly Free
August 16, 2006
From journal Day Trips to London
by captain kait
Houghton, New York
July 15, 2005
You enter on the lowest level, where you can walk into a huge, open courtyard area that houses interesting rotating exhibits. For example, when I visited, a mammoth several-storied red funnel provided a whimsical greeting. Through a few visits, I found that it seemed best to start out by taking the escalators all the way up to the top floors and work my way down. The galleries are organized by subject matter, theme, or medium (the nudes are all grouped together and easy to avoid with kids), but are also connected, which makes it possible to choose a certain mood or simply wander from room to room. Each floor has sitting areas, some of which incorporate reading and research. There are a couple gorgeous reading rooms overlooking the Thames, as well as a restaurant. The museum offers a varied but quality collection that is stimulating without becoming overwhelming. I would recommend the Tate even to those who typically dislike modern art. Admission is free, so there's not much to lose.
From journal London Museums