Inside the Tate Modern: A Century of Modern Art 2003
Distributed by Films Media Group, PO Box 2053, Princeton, New Jersey 08543-2053; 800-257-5126
Produced by Twenty Twenty Television
Directed by Meredith Chambers
DVD, color, 5 parts, 15 min. each
Sr. High - Adult
Art, Art Education, Art History, Museums
Date Entered: 06/07/2005
Reviewed by Louise Greene, Art Library, University of Maryland, College ParkThis series of short films, produced for BBC Channel 4 Television, provides an overview of twentieth-century western art through an introduction to the collections of the Tate Modern, Britain’s national gallery of modern art in London.
The set of five DVDs begins with the general Introduction to Modern Art, and moves to the more specific Objects, Places, War, and People. Each DVD comprises a 15-minute treatment in three segments, each focusing on an aspect of modern art exemplified by one or more works in the museum’s collection. These fifteen five-minute segments, each of which begins with a lead-in montage and ends with rolling credits, explore such topics as Distortion, Still Life, Abstracting Landscape, Sculpture from Nature, and The Effects of War. In all, 43 works by 35 artists are represented: the earliest is Paul Cezanne’s Still Life with Water Jug (1892-3); the latest is Robert Long’s Waterfall Line (2000). The works are beautifully photographed and nicely interspersed with intriguing glimpses of the galleries and candid shots of gallery-goers.
The series, which was written and is narrated by British actor Richard Stemp, addresses the variety and evolution of form and content in modern art, with emphasis on its psychological component - from the perspective of both artist and viewer. There is a nice balance between discussion of the larger principles of modern art and specifics about particular works. Media represented include painting, sculpture, photography, and installation; themes addressed include identity, race, nature, violence, and loss. The introductory-level narration aims to demystify works which may otherwise seem incomprehensible to the average viewer. To the possible discomfort of some, Stemp does not shrink from themes and works that are provocative, controversial, or even somewhat graphic in nature.
While the structure of this series will be of interest to educators wishing to use individual segments as catalysts for discussion of very specific concepts within the study of modern art, it will probably have less appeal to conventional viewers who may find that the short-film format detracts from the overall scope of the subject matter. Inside the Tate Modern: A Century of Modern Art is recommended as a teaching tool for libraries and programs with collections in the visual arts.