Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. 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Frost, WillFrost, Gompertz, Will Gompertz, Georgia GeorgiaMalden, Malden, Caspar vanCaspar Vark van and Vark Eve and Wilson Eve Wilson DesignedDesigned by by Why NotWhy Associates Not Associates www.whynotassociates.comwww.whynotassociates.com PhotographyPhotography by by James DeavinJames Deavin www.jamesdeavin.comwww.jamesdeavin.com Paper suppliedPaper supplied by by Fenner PaperFenner Paper www.fennerpaper.co.ukwww.fennerpaper.co.uk Printed Printedby by Push Push www.push-print.comwww.push-print.com Printed onPrinted FSC paperon FSC using paper using vegetable-basedvegetable-based inks inks Contents / Introduction 02 Art and Ideas / Collection Acquisitions 10 Caring for the Collection 12 Research and scholarship 15 Acquisition highlights 17 Art and Ideas / Programme Introduction 34 Calendar 36 Tate Britain 38 Tate Modern 40 Tate Liverpool 42 Tate St Ives 44 Audiences / Learning Adult programmes 46 Live events 47 Families and children 48 Young people 49 Audiences / Beyond Tate Online, media and publishing 52 Sharing with the nation 56 Sharing with the world 58 Improving the Organisation Developing staff 60 Funders and supporters 63 Operational effi ciency 65 Future Developments 66 Financial Review 68 This report is also available to download in PDF and large-print versions – visit Donations, Gifts, Legacies 74 www.tate.org.uk/report and Sponsorships Introduction 2 An evolving Collection / Art challenges us to think again and is a Thanks to the vision and extraordinary force for refl ection, growth and change. generosity of many artists, collectors In today’s diverse, fast and mobile world, and donors, this year we were able museums provide us with opportunities to enhance signifi cantly the breadth and spaces where we can come together, and quality of the Collection. consider our identities, discover our passions and share them with others. The unprecedented gift to Tate and National Galleries of Scotland by the The vision for Tate in 2015, which we gallerist Anthony d’Offay of over 700 set out in 2007, continues to guide our works, the ARTIST ROOMS collection, development: we are committed to was announced early in 2008 and extending public engagement with the accessioned during the year. ARTIST visual arts and aim to become more ROOMS augments the national collection’s collaborative, inclusive, open, global representation of post-war and and entrepreneurial in the way we work. contemporary art in many different ways. We also seek to stimulate discussion In the spring of 2009, it began to be shown with – and among – our audiences. The across the country in eighteen galleries character and calibre of Tate’s Collection, stretching from St Ives to Stromness. programmes, buildings and staff are crucial to achieving this ambition. Artists are among our most generous benefactors. Following David Hockney’s gift in 2008, his painting Bigger Trees Near Warter 2007 was accessioned this year. Other important gifts were received from Michael Craig-Martin, Tacita Dean, Léon Ferrari and Robert Frank, among others. We were also successful in expanding the geographical range, artists and practices represented in the Collection. Acquisitions of work by artists such as Rirkrit Tiravanija, Tris Vonna-Michell and Vong Phaophanit are helping to broaden the Collection and lay foundations for the future. Introduction 4 Programme and engaging with audiences / In October, following an extensive public Tate’s programme promotes discussion fundraising campaign, Tate acquired Peter about art and ideas. We want to Paul Rubens’s The Apotheosis of James I engage with audiences in our galleries, and other studies: Multiple Sketch for but also beyond: we do this through the Banqueting House Ceiling, Whitehall community and educational programmes c1628–30. Sir Geoffroy Millais also and, increasingly, the innovative use generously gave John Everett Millais’s of partnerships and new media. Dew-Drenched Furze 1889–90 in memory of his father on the occasion of the 190th Our Collection displays were strengthened anniversary of Sir Henry Tate’s birth. this year by extraordinary loans such as works by Edward Burne-Jones and Improving understanding of the Collection Frederic Leighton from the Museo de remains a focus. This year we founded the Arte de Ponce in Puerto Rico, and the fi rst three Tate Research Centres devoted 25-year loan of Gerhard Richter’s cycle to the study of British Romanticism, of six Cage 2006 paintings. Liverpool’s Rethinking Modernism and The Artist most signifi cant Collection display set Colony. Each will provide a platform for the stage for the city’s extraordinary collaboration and scholarship. They will year as the European Capital of Culture. also inform the development of the Tate’s Collection provided a context for Collection and programme by adding the diverse exhibition programme at to the depth and range of information Tate St Ives, as in the presentation of works available to our audiences. chosen by Heimo Zobernig as part of a special installation which he devised in Heimo Zobernig and the Tate Collection. A successful programme of exhibitions across the four galleries drew interest from a wide range of audiences. Rothko was among the most popular Tate exhibitions ever, as was Francis Bacon. With 200,000 visitors, Tate Liverpool’s Gustav Klimt exhibition proved that audiences can be attracted by signifi cant exhibitions outside London. Introduction 6 Future development / New initiatives in support of exhibitions, Public engagement with the visual for example an edition of the online fi lm arts continues to grow and makes series TateShots featuring Damien Hirst welcome demands on our programme, discussing the work of Francis Bacon, learning, interpretation and visitor extended the reach and longevity of services. Our capital development plans the programme. We have also been aim to address this. developing interactive multimedia websites and television programmes, Raising funds in an uncertain economic which will have a life long after the environment is a challenge. But we believe exhibitions close in the gallery. that we must continue to change and develop to meet audience expectations. Building trust with our visitors allows We have taken forward our plans to reduce us to bring emerging and less well-known overcrowding and improve visitor spaces art and artists to new audiences. This year and services. We also want to transform the the Cildo Meireles and Adam Chodzko way we can programme, commission and exhibitions enjoyed a very warm response display art, and interact with audiences. from our visitors. Emerging artists were also presented in Turner Prize 2008, The revised plan for the development Altermodern: