The World Goes Pop, Tate Modern, 12 November 2015

By the time Janie had waded through the materials from Kim’s very generous membership birthday gifts, which included membership of the Tate, she realised that she/we had missed the previews of this exhibition but there was still one members evening left, so we arranged to meet at the tate Modern early evening.

I had a long-arranged/rearranged lunch with John Farthing at a wonderful new Japanese Restaurant, Kiru, with which John is involved and to which I went again with John White a couple of months later – click here.

Then to the office for a few hours to clear some stuff before wandering over the (formerly wobbly) bridge to the Tate. It all felt a bit different, doing the members evening thing. As it was relatively late in the exhibition, this members evening was not so crowded and really did feel like an opportunity to see a popular show in quieter circumstances.

The Tate does excellent on-line stubs for past shows, so there is no need for me to repeat facts about the World Goes Pop exhibition – click here.

It wasn’t quite as much fun as the stub makes out. Some elements were really good fun, but there was also a lot of agitprop art and swathes of grim as well as swathes of lighthearted, colourful stuff. As usual, we were quite selective, spending longer in rooms that interested us and skimming stuff that did less for us.

Still, it was quite a big exhibition, so although we also fancied seeing the Alexander Calder we soon realised that, in the evening after work, we couldn’t possibly do justice to the Calder as well, so resolved to return very soon, which indeed we did, less than a fortnight later.

Janie bought me a couple of really snazzy ties in the Tate Modern shop that evening; these weren’t directly connected with the show but did have a sort-of pop art look about them. I have had more positive comments about those ties than any others in my collection, but sadly the Tate modern subsequently seems to have fallen out of love with ties.

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