Feminism And Institutional Critique: The Tate Modern Museum

Decent Essays

Introduction The museum in modern society is no longer a place for an unchallenged authority to civilize the barbaric masses, but instead a place fraught with conflicting views. Numerous artists and activists’ groups are performing critiques on museums for the ways they are still upholding anachronistic ideals and remain hegemonic, privileged, and patriarchal intuitions in society. This paper will be looking at these issues through the lens of Feminist critique and Institutional critique. This paper will analyse how Feminist art is de-contextualized and commercialized for use in museum spaces eliminating much of its radical meaning, and the limited successes and the failures of Instructional critique. This paper argues that while both Feminist and Institutional critiques are de-radicalized by being held within institutions, the critically specific and activist nature of feminist critique allows it to retain more power than Institutional critique. Feminist and Institutional critique will be contextualized by a case study in The Tate Modern museum, specifically the “Media Networks” gallery. The Tate Modern The Tate Modern stands proud and impressive on London’s Southbank. The formidable exterior of a former power plant emblazoned with the names of artists: Rauschenberg, Tillmans, Giacometti, Modigiliani (see Figure 1). These artists are some of the greatest artists of the twentieth century; some of the best male artists of the twentieth century. Regardless of it’s façade,

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