A decline in visitor numbers, staff strikes and budget cuts – Jessica Morgan faces many challenges as she takes on the biggest role in the British arts scene
A lack of clear vision, low morale, dwindling popularity and financial shortfalls – this may sound like a description of the previous Labour government, but these are also criticisms levelled at the UK’s most powerful arts institution, Tate. Maria Balshaw’s tenure as the first female director of Tate – comprising Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives – lasted nine years and saw as many culture secretaries. One of Sir Keir Starmer’s last acts as prime minister was to approve the appointment of her successor, Jessica Morgan, a former curator at Tate and head of the Dia Art Foundation in New York.
With record-breaking Frida Kahlo and Tracey Emin shows currently at Tate Modern, suggestions that Ms Morgan is inheriting an institution in a state of “existential crisis” seem exaggerated. Tate Britain, often overshadowed by its more fashionable younger sister, pulled in crowds for its Turner & Constable and Lee Miller exhibitions. These blockbusters in the past year also rebut accusations that Ms Balshaw focused on little-known artists instead of bankable stars. Her commitment to diversifying the collection will surely be taken up by Ms Morgan, who also has a strong track record in promoting marginalised artists. Ms Balshaw is leaving on a high.
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A decline in visitor numbers, staff strikes and budget cuts – Jessica Morgan faces many challenges as she takes on the biggest role in the British arts sceneA lack of clear vision, low morale, dwindling popularity and...
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