The embodiment of artBMJ 2000; 321 doi: https://doi.org/10.1136/bmj.321.7252.57 (Published 01 July 2000) Cite this as: BMJ 2000;321:57
- Joan Beadle, senior lecturer in fine arts
- Manchester Metropolitan University
Tate Modern, Bankside, London
There were bodies everywhere at the Tate Modern on May's bank holiday weekend, not only hanging on the gallery walls but streaming through the entrance in vast numbers. The doors were closed to visitors for a while, perhaps the first time that crowd control has been needed in a public art space.
The Tate gallery's 20th century collection, housed in a disused power station on the banks of the Thames, has been divided into four broad themes—“Landscape, Still Life, History, and Nude/Action/Body.” Entering the gallery through the vast and physically imposing turbine hall, our own bodies seem incredibly small. Other humans seem tiny as we rise above them on the escalators to “Nude/Action/Body” on level …
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