MEDIA: What The Papers Say - The very model of a modern major gallery

Brit-art bad girl Tracey Emin featured largely in the publicity surrounding the glossy rebranding of the Tate Gallery on Millbank as Tate Britain.

Brit-art bad girl Tracey Emin featured largely in the publicity

surrounding the glossy rebranding of the Tate Gallery on Millbank as

Tate Britain.



Few commentators picked up on the possibly deliberate pun in the name,

and only one mentioned the new ’softer’ logo. Sponsors such as the

Guardian, BP, and Sunlife and Provincial Holdings will probably feel

aggrieved at their single mentions each.



Journalists were, however, unanimous in their praise for the new themed

rooms and the juxtaposition of historical and contemporary art. Some

questioned whether Britishness was an appropriate theme for a gallery

that includes works by Canaletto. Others, notably James Davison in the

Guardian Review, thought Hogarth’s The Gate of Calais, central to the

first exhibition, smacked of ’obnoxious propaganda’.



The Guardian enthused that Tate Britain, ’wants to surf the wave of

enthusiasm for new British art’, but like all the broadsheets covering

the event, saw it as an appetiser before the main course, the opening of

Tate Modern on Bankside in May.





Analysis and commentary by Echo Research.



Cuttings by Durrants. More information can be found at:

www.echoResearch.com.



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