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GAC Annual Report 2011-2012

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GAC Annual Report 2011-2012 Annual Report 2011-2012 Contents 2 4 Chairman’s Report – Julia Somerville, Chairman of the Advisory Committee 5 Director’s Report – Penny Johnson, Director of the Government Art Collection 18 Advisory Committee members 19 GAC staff 20 Acquisitions 24 Annex 1 – List of works lent to public exhibitions 27 Annex 2 – List of long-term loans outside Government Our aim is 3 to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. Chairman’s Report 4 As our Director Penny Johnson explains in her detailed account of the past year, the Government Art Collection (GAC) has been very preoccupied with staging its first ever exhibition in a public gallery. The feedback from visitors was hugely enthusiastic, with many saying they had no idea about the sheer range and variety of the Collection. There was great interest in the section dealing with how individual works have travelled the globe as roving cultural ambassadors. The Whitechapel Gallery was delighted with the public response – attendance figures far outstripped expectations. All in all, then, a triumph for the GAC and its hardworking team. Obviously the freeze on our acquisitions budget hit us hard. But as the Director explains, individual acts of generosity meant we were Above: Julia Somerville & Cornelia Parker at the Whitechapel able to continue to add to the Collection. Gallery for the opening of Richard Of York Gave Battle In Vain. This year the GAC’s position in the public consciousness was greatly enhanced and it provided the perfect launchpad for our contribution to the year of the Olympic and Paralympic Games. As always, I conclude by commending the Committee for its dedicated role of advising and encouraging the GAC. Penny Johnson and her team never fail to bring energy, passion and humour to the important business of promoting British art and safeguarding the unique collection that is the GAC. I thank them on behalf of us all. Julia Somerville, Chairman Director’s Report 5 2011–12 was exceptional in the history of the Government Art exhibition – and finding temporary replacements for some of them Collection. A long held ambition was realised this year in the staging – was a considerable undertaking. In several cases, the works of art of the first exhibition of the Collection in a public gallery in its 113- had not been back in the UK for a number of years. year history. The show opened at the Whitechapel Gallery in London in June 2011, the same month that we achieved another landmark The five consecutive displays opened withAt Work (3 June – 4 Sept with the publication of the first book to focus on the role and history 2011) which focused on art chosen by ministers and ambassadors of the Collection: Art, Power, Diplomacy: The Untold Story of the and other leading figures who had worked alongside the works Government Art Collection. Both the exhibition and the publication of art they selected. For example, Sir Far Right: Cornelia have helped significantly with our ongoing aim of increasing John Sawers, now Chief of the Secret Parker at the Whitechapel awareness of and access to the Collection. Intelligence Service, picked five works, Gallery for the opening including Reflection by Bridget Riley, from of Richard Of York Gave Whitechapel Gallery exhibition the display in Cairo where he was formerly Battle In Vain. Overarching all that we did this year was the preparation for the the ambassador, and LA Woman (The exhibition at the Whitechapel Gallery: five consecutive displays of Doors) by Jim Lambie, most recently on around 200 works from the Collection. Interestingly, while researching display in Los Angeles but located in New the archive display, we discovered that the artist William Coldstream York when he was there as Ambassador suggested a public exhibition of the Collection at the Whitechapel to the United Nations. Dame Anne Pringle, in 1962, when he was a member of the GAC’s Advisory Committee. Ambassador in Moscow from 2008–2011, As it turned out, the Whitechapel’s Gallery 7 – its dedicated space selected Derek Boshier’s I Wonder What My for showing works of art from rarely seen collections – proved ideal Heroes Think of the Space Race and also for staging our exhibition. As one of London’s most respected public a pair of imposing portraits by Gerrit van art galleries, it gave us the opportunity of increasing access to the Honthorst of the Winter King and Queen, Collection and raising awareness of our role, as well as fulfilling the which were on display in Prague where Whitechapel’s vision of bringing a range of work to their gallery in she had previously been the ambassador. order to widen their audience. Visitor numbers during the course of The other selectors for At Work were Lord the exhibition far exceeded expectations. Boateng, Samantha Cameron, Nick Clegg, Lord Mandelson and Ed Vaizey. The preparation of the exhibition affected every one of the GAC’s activities, from conceiving the themes for display and presenting The leading British artist Cornelia Parker curated the second display them in collaboration with the Whitechapel Gallery, to researching (16 September–4 December 2011) in which she made connections the works, photographing, framing, conservation and transport. As between colour and politics. Titled Richard Of York Gave Battle the largest most dispersed collection of British art in the world, the In Vain – a mnemonic used in childhood to remember the order transportation of works to and from their usual locations for the of the colours of the rainbow – the exhibition presented 78 works 6 A view of At Work, the first display at the Whitechapel Gallery. ‘What you do see at the Whitechapel is just how fine a face the collection gives to Britain at home and abroad’ 12 June 2012, The Observer 7 hung floor to ceiling (GAC Curator: Collection Projects), was documented in a short film according to colour. by Jared Schiller, shown alongside the display. Incorporating both Witty juxtapositions historical and contemporary works, the final selection included and refrains ran statues of Winston Churchill and Florence Nightingale as well as round the room with large oil paintings by John Virtue and Mike Silva. A portrait of Robert Queen Elizabeth I Walpole, Britain’s first Prime Minister, from the studio of Jean Baptiste eyeballing her arch van Loo, was also chosen – the first time the work had been out of rival Mary Queen 10 Downing Street since it was acquired in the 1920s. of Scots; Peter Blake’s Love Me The fifth displayCommissions Now and Then (21 June – 9 September Do portrait of the 2012) presenting works commissioned by the GAC over the last 60 four Beatles placed years, falls outside the period of this Annual Report. next to The Garden, Above: Simon Schama a portrait of a much younger female quartet by Gillian Wearing, In addition to exhibiting the Collection in Gallery being interviewed by and a man poised on a ladder in both a photograph by Martin Parr 7, the Whitechapel Gallery invited the GAC John Wilson for BBC and a video by Wood & Harrison. to present an archive display. Rare material Radio Four’s Front Row including the letters of prime ministers, at the Whitechapel We invited the historian and cultural commentator Simon Schama diplomats, artists and civil servants exploring Gallery to select the third display Travelling Light (16 December –26 the history of the Collection were shown Far Right: The 1899 February), a personal selection that he described as ‘a little bounce here for the first time, researched by Philippa document showing the of pleasure’. Exploring ideas of travel from the 16th century to the Martin, Curator: Research and Information first known purchase of present day, Schama’s selection picked up on the excitement and (Historical). This included documentation of works of art. eagerness of the artist seeking out new experiences; the nostalgia the first known purchase made in 1899 – a for home and the sense of the traveller never quite capturing it time when the cost of decoration prompted all. Edward Lear’s View of Beirut, Vanessa Bell’s Byzantine Lady, the use of art instead of wallpaper to Grayson Perry’s Map of an Englishman and Rachel Lowe’s car cover the walls of government buildings. journey video A Letter to an Unknown Person were some of the (Hard to imagine that now!) The display works that he chose to illustrate his theme. also covered more recent events and developments, such as the loan of the bust 12 from No10 (9 March –10 June) was selected by a group of non- of Winston Churchill to the White House political staff working at Downing Street. Brought together especially in 2001 and the destruction of work from for the exhibition, the group’s process towards making a final the Collection when the Ambassador’s selection which took place under the guidance of Adrian George, Residence in Tripoli was attacked in 2011. 8 A view of At Work, the first display at the Whitechapel Gallery. ‘An artful look behind the doors of power’ 3 June 2011, Evening Standard 9 Right: The cover of Interpretative material was produced to accompany all the displays New publications Art, Power, Diplomacy: at the Whitechapel Gallery by the Information and Research curators. In June 2011, the same month Government Art Each display was accompanied by an illustrated booklet with as the first display opened at the Collection The contributions in the form of essays by Cornelia Parker and Simon Whitechapel, the book Art, Power, Untold Story. Schama and quotes from the various selectors.
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