Tate Quotes
In 1987 a Civil Service inquiry decided that the pay of the Director of the Tate Gallery should match that of the Director of the much larger Victoria & Albert Museum and of the National Gallery, where the pictures were regarded as being much more important, because, and here I quote, "the Director of the Tate has to deal with the very difficult problem of modern art."
Nicholas Serota
In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties.
Nicholas Serota
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.
Nicholas Serota
But when the artist abandons visible appearance, as in Mondrian's black grids on white grounds filled with balancing rectangles of colour, many people feel left behind. And yet the rhythms of Mondrian are those of nature. The harmonies are those which guided proportion in classical buildings and Renaissance churches. Rothko's glowing maroon Seagram Murals at the Tate may, like Turner's late canvases, appear to be "of nothing" but in their brooding depth Rothko suggests another world. As one four year old child said of the Rothko room at the Tate "it makes me think of God."
Nicholas Serota
Tom Fleming, the eldest, was said to look like King George V, and indeed, was often mistaken for His Majesty when in the vicinity of Scotland Road, Anfield Road or Lime Street. Why people would suspect that the King might be working in Tate and Lyle's sugar factory is beyond me, but there you are.
Tom Baker
John Tate and I were asked by Nature magazine to write an obituary for Alexander Grothendieck. Now he is a hero of mine, the person that I met most deserving of the adjective "genius". I got to know him when he visited Harvard and John, Shurik (as he was known) and I ran a seminar on "s". His devotion to math, his disdain for formality and convention, his openness and what John and others call his naiveté struck a chord with me.
David Mumford
The domination of becoming produces another sort of fragmentation, which may be called "presentism.” Allen Tate has made the point that many modern people to whom the word "provincial” is anathema are themselves provincials in the to an extreme degree. Indeed, modernism is in essence a provincialism, since it declines to look beyond the horizon of the moment, just as a countryman may view with suspicion whatever lies beyond his country.
Richard Weaver
The very idea of philosopher as art curator deeply interests me. One swiftly dreams of what Gilles Deleuze might have done with the opportunity to curate an art exhibition at MoMA: Art and Alloverness perhaps? Or Michel Foucault: the New Panopticons at the Centre Georges Pompidou? What would Susan Sontag or Roland Barthes have done at the International Center of Photography or at the Tate? What could Friedrich Nietzsche have done at the Louvre Museum? What indeed could Georges Bataille have haughtily done at the Metropolitan Museum of Art?
Joseph Nechvatal
"You could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and paint something big where you shouldn't do." - The Guardian, 2003 (taken from "Home Sweet Home - Banksy's Bristol" by Steve Wright)
Banksy
Sharon Tate is divine, a real find. Just wait and see what happens when the critics and public see her in Valley of the Dolls. Sharon has everything Marilyn Monroe had - and more. She has the fascinating, yet wholly feminine strength of a Dietrich or a Garbo, a classically beautiful face, an exciting figure, the kind of sex appeal and personality appeal to become as glittering a star as Bette Davis, Joan Crawford, Rita Hayworth, Lana Turner, Elizabeth Taylor.
Sharon Tate
While I was working on Downward Spiral, I was living in the house where Sharon Tate was killed. Then one day I met her sister. It was a random thing, just a brief encounter. And she said: "Are you exploiting my sister's death by living in her house?" For the first time, the whole thing kind of slapped me in the face. I said, "No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred." I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, "What if it was my sister?" I thought, "Fuck Charlie Manson." I went home and cried that night. It made me see there's another side to things, you know?
Trent Reznor
