Tate Modern, which staged blockbuster exhibitions by Picasso and Modigliani last year, is top of the overall list for the first time since it opened in Despite the overall rise in visitor numbers, some outdoor attractions had a dip - mostly blamed on the extreme cold spell early in the year. The country's second most popular garden, RHS Garden Wisley in Surrey saw its visitor numbers drop by more than 70, Alva also said the World Cup period had also led to a fall in visitors to some attractions.
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UK's top visitor attractions revealed. The building was converted and opened to the public in He is famous in the UK for having designed the iconic red telephone boxes. The conversion architects are the Swiss Herzog and de Meuron. Tate Modern: Switch House. The Turbine Hall: At 26m high, this vast space was where the turbines of the power station were located. Since opening in , over 60 million visitors have experienced large-scale artworks in the awe-inspiring space of the Turbine Hall.
A time capsule has been buried in the Turbine Hall. The View: The top floor of the Switch House is a viewing terrace with spectacular vistas over the London skyline and can be accessed free of charge! The Collection: to visit the main collection of Tate Modern is admission-free.
There are 8 areas that make up the main collection displays. In contrast to most galleries and museums, the displays at Tate Modern are arranged according to themes and not chronology.
Tate Modern prides itself on the frequent change of displays. The themes change too! Tate Modern: Couple looking at sculptures in one of the galleries.
Artists in Dialogue: in each of the main collections works by different generations of artists are brought together. Generating its own mini-Bilbao Effect, Tate Modern has been critical to the enhancement of its Bankside neighbourhood, a process of increasing property value and spreading the kind of lifestyle amenities seen worldwide in cultural development zones. More recently, the opening of The Tanks in has provided a dedicated setting for performance, a variety of public spectacle that has become essential to contemporary museum programming.
This is a worldwide phenomenon, with museum renovations, expansions and new buildings increasingly incorporating performance spaces. And the very enterprise of presenting exhibitions of contemporary art has assumed a spectacular dimension, given the confluence of art, fashion and pop entertainment. Emblematic of this is the media attention that developed around the Turner Prize competition and award ceremony.
The embrace of performance also reflects two important influences on the contemporary museum. One of these is the notion of a museum as a site of public gathering, a locus of multiple activities attracting a diverse public: film screenings, dance and theatrical performances, lectures, restaurants and bars, places just to hang out.
From this perspective, museums were not to be viewed only as places of display, but were to function as multidisciplinary sites of artistic production and inquiry. In creating these committees and supporting their activity, Tate Modern has been an international leader in the reorientation toward the global museum collecting of Modern and contemporary art.
Capital gains Relying on these acquisition committees to fund its collecting of so-called non-Western art, Tate Modern has actively embraced the kind of ambitious fundraising from non-governmental sources that has long supported US museums. In this it has become a model for museums throughout the world that in the past had relied almost entirely on government funding to support their operations.
This symbiotic relationship with new moneyed elites and their cultural interests marks Tate Modern as very much of our time, embedding it in the web of mega-collectors and mega-galleries that constitutes the popular face of contemporary art.
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