GALLERIES
Huge windows allow the sunlight to fl ood in. Mechanical shutters are used when works need artifi cial light
remainder raised by the non-profi t Turner Contemporary Trust from a variety of pri- vate and public sources. It’s much more modest than the earlier scheme, sitting further inland (though still within a stone’s throw of the sea) on the site where Mrs Booth’s guesthouse once sat. The two-storey building comprises a
series of interconnecting, shed-like struc- tures with sloping roofs, meant to evoke artists’ studios. Outside, it’s sheathed in white, opaque glass which changes colour with the light. Inside, it’s all polished con- crete and white walls, with sunlight fl ooding in through the huge lobby window facing the sea, as well as through numerous windows and skylights in the study rooms and fi rst-fl oor galleries (there are mechani- cal shutters in place for when works need to be displayed with artifi cial light). “The gallery faces due north, as of course does Margate, which isn’t often the case of holi- day resorts in the northern hemisphere,” Chipperfi eld told the Guardian newspaper.
“This means we get the light that works best for artists and the artworks.” Another of Chipperfi eld’s aims was to
make the art as accessible as possible. The positioning of the amenities refl ects this: the shop’s within the lobby, so can be easily by-passed; the café and its terrace sit just outside the gallery’s main entrance, overlooking the Margate sands. Somehow, the whole design manages to be bold yet unpretentious, minimalist yet inviting.
80
“We’re not the Turner Gallery, we’re Turner
Contemporary. We’re here to demonstrate Turner’s infl uence on contemporary practice”
Of course, it’s not only the building, but
what’s inside it, on which the success of Turner Contemporary depends. The challenge of ensuring the gallery has high- quality content isn’t made easier by the fact there’s no permanent collection. “We don’t have a budget for collecting, we don’t have a policy for collecting and the building hasn’t been designed with the large-scale storage necessary,” says Pomery. “Getting the loans is a time-consuming process… but for me, [the advantage of] temporary exhibitions [is that] they allow one to think about different audiences, different themes and different artists.” Pomery also defends her decision not
to open the gallery with an exhibition dedicated solely to its namesake’s works – instead choosing to delay plans for a big Turner show (Turner and the Elements) until January next year. “We’re not the Turner Gallery, we’re Turner Contemporary. It’s important to set out what we’re here to do, which is to demonstrate Turner’s infl uence on contemporary practice,” says Pomery. “But we’re committed to making sure there’s always a Turner present.” In line with this, there’s one Turner paint-
ing in the Revealed: Turner Contemporary Opens exhibition, and there will be up to 12 in the next show, Nothing in the World but Youth, which opens in September.
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HEART OF THE COMMUNITY One criticism directed at the gallery by some reviewers is that, based on this fi rst exhibition, there’s not enough in it to war- rant the train journey from London. Pomery disputes this. “You need to spend time with these pieces,” she says. “They’re not easy works by any stretch of the imagination, and they’re multi-faceted. More isn’t nec- essarily better; it’s not about fi lling up the spaces with as much as we can jam in.” Pomery’s also keen to stress that
although showcasing great art is a key aim for the gallery, it’s not the only one. “Learning is absolutely central,” she says. “The gallery has to be at the heart of the community… and without the learning ele- ment, it isn’t going to work.” Thus, much of the space is used for running workshops and courses for local people of all ages and backgrounds. Pomery’s particu- larly proud of the Cultural Ambassadors scheme, which, in association with the University for the Creative Arts, is enabling people with very little education to access art foundation and even degree courses. Another aim is to support the regen-
eration of the town. The project has clear benefi ts in terms of raising the town’s profi le and attracting investment, but according to Pomery, it’s also about win- ning hearts and minds: “Regeneration
AM 3 2011 ©cybertrek 2011
PHOTOS LEFT AND FAR LEFT DAVID GRANDORGE
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