What does a painting by Francis Bacon have in common with Frederic Leighton’s stretching sculpture The Sluggard, or a monochromatic photograph of the actress Beatrix Lehmann? Certainly not medium nor content, and barely century.
Tate Modern’s latest offerings suggest the great institution’s paralysis by bureaucracy. The show is comprehensive, meticulously well-researched but, ultimately, too hesitant to assert a viewpoint. Those new to the artist will likely leave with a clear impression of the artist’s sculptural spectrum. Those not new to the artist will leave unexcited by a lack of curatorial argument.