At The Tate Modern, However, The Genre Of Landscape Has Been Reconceived To

At the Tate Modern, however, the genre of landscape has been reconceived to include the zone of the imaginary, uncanny dreamscapes, symbolic visualisations of anxiety and desire (Blazwick & Morris, 35).
As Jennifer Mundy points out, landscape is an ambiguous term and can have several overlapping meanings: much of its resonance derives from the often uncertain boundary between nature and culture, the objective and the subjective (42). Thus a landscape may be a faithful rendering of the physical world, such as the dreamy middle-class countrysides of Impressionism. Or it may be symbolic rendering of an interior landscape, such as the more obscure works of the Surrealists.
The Tate Modern's Landscape collection tries to reflect the range and diversity of this genre, while also addressing the complex threat of modern technology. As Mundy notes, today the threat posed to the environment by modern technology and the growth of the human population has made the natural landscape a topical, even urgent, subject for art (50).

Still Life/Object/Real Life
Paul Moorhouse posits that among the many radical developments in the visual arts during the last hundred years, one of the most significant has been the extraordinary growth and transformation of the genre known as still life (60). By the period of Cubism, still life no longer meant an apple on a plate, but rather the complexity of the relationship of the objects to each other and to the viewer: The inertness of such objects as a glass, a bottle, a pipe or a newspaper provided a perfect vehicle for evoking the complex phenomenological relationships between such artefacts, the surrounding space and the viewer perceiving them (62).
The Tate Modern's collection is a reflection of the evolution of the form referred to as still life, and which today defies definition. According to Moorhouse, this fusion of the actual and the symbolic has created the conditions for a remarkable vitality and diversity in contemporary art (68), a vitality and diversity reflected in the Tate Modern's ever-changing representations of the genre.
History/Memory/Society
The concept of history/memory/society is wide-ranging and ambitious, perhaps intentionally so. Public morality, politics, ideology, idealism and suffering among other themes still preoccupy artists today comments Jeremy Lewison (88). The Tate Modern collection attempts to represent these themes as they are expressed in modernity, while reflecting the continuum in which they necessarily exist. Clearly this is an ambitious task, considering the multitude of methods used to express and relate these concepts across the ages.
The study of history has descended to the micro level, posits Lewison, adding that it has been, in a sense, democratised.