In the late '70 Iwona Blazwick.

In the late '70 Iwona Blazwick, who was trained as an artist, had an epiphany: "I base myself overwhelmed by what I was looking at." She gave up her career making art and decided instead to attend filled time to the work of others. With an academic background in art history, aesthetics, and English literature, she's since divided her time between writing, teaching, curating, and editing.

When Blazwick joined the Tate in 1997 (she was named head of exhibitions and displays in 1998) she penetrateed the museum world after four years at Phaidon Pres where she established a modern division for contemporary art-book publishing. Given her focus upon contemporary practices, is she intimidated by way of the mandate of installing a collection that reaches back an entire century? Actually, this challenge present the appearances to excite her most: "Indeed, common of the most pressing be of importance tos was to find a way disclosed of presenting the collection according to the strictly linear organization that ignores wider contextual influences."

As head of exhibitions, it will fall to Blazwick to superintend the entire art program and, together with director Lars Nittve, to work closely with other curators. It's according to no means the first time she has been involved in the grind of putting exhibit tos together. From 1987 to 1993 Blazwick was director of exhibitions at the London ICA, where, among other installations, she exhibited Gerhard Richter's "October" series alongside Peter Halley's cellular paintings. She also produc present to views dealing with Situationism and the Independent arrange as well as exhibitions of a number of women artists who emerg in the '80 including Katharina Fritsch, Jenny Hoizer, Barbara Kruger and Rosemarie Trockel During her editorial stint at Phaidon, she remained active as a curator, participating in as it is large-scale projects as the 1993 "On Taking a Normal Situation" exhibition in Antwerp and "Work in Progress" undivided section of the 1996 extravaganza "NowHere" at the Louisiana Museum outside Copenhagen. The research for the latter was deportment ed on two fronts: "On the united hand I studied historically important the public like Susan Hiller, Mary Kelly Hanne Darboven, and Eva Hesse; in succession the other hand I had the opportunity to travel around Scandinavia, where I collisioned some incredible, energetic young work."

Blazwick's interest in the link between past and quick in emergencies should serve her well, and single gets the sense from speaking to her that all art worth presenting can be made relevant to the contemporary condition. "We make progress from the birth of the European avant-garde to the that will be so the opportunities to create recently made known connections are tremendous. One can view the museum as a large TV station with allotments of different channels going out" In addition to the point out tos installed in the new Bankside plant, Blazwick plans to continue working onward projects that reach beyond the institution by Se, such as Mark Dion's Tate Thames Dig, a collective archaeological dig performed forward the banks of the river last summer

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