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ENGLAND SWINGS.

The New Yorker

| March 01, 2004 | Schjeldahl, Peter | COPYRIGHT 2004 All rights reserved. Reproduced by permission of The CondÃ© Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Two institutions on the south bank of the Thames express the split personality of the London art world. Dr. Jekyll is the mighty Tate Modern, which, since a fumbling start in 2000, has developed gravitas and flair to go with its crowd-fetching magnetism. At present, the cathedralesque former power plant offers handsome retrospectives of Constantin Brancusi and Donald Judd, and a smashingly successful installational work by Olafur Eliasson. In the museum's mammoth Turbine Hall, which has devoured every previous attempt to enhance it with art, Eliasson's vast "sun," made up of hundreds of monofilament lamps (which suppress all colors except yellow), sheds aureate light ...

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