TATE AMERICAS FOUNDATION ANNUAL REPORT JANUARY 1, 2020 to MARCH 31, 2021 CONTENTS

INTRODUCTION...... 3 ART ACQUISITIONS OUR AND GIFTS...... 5 SUPPORTERS...... 20

TRUSTEES ACQUISITION COMMITTEES...... 21 HIGHLIGHTS...... 6 AND STAFF...... 4 INTERNATIONAL COUNCIL.....22 ALL ACQUISITIONS...... 13 DONORS...... 23 ALL GIFTS...... 14

SUPPORTED ABOUT...... 25 EXHIBITIONS...... 16

COVER IMAGE JOAN SNYDER Dark Strokes Hope 1971 Oil paint, acrylic paint and spray enamel on canvas 1981 x 2743 mm Lent by the Tate Americas Foundation, courtesy of Tate Americas Foundation and Komal Shah 2020

2 INTRODUCTION

It is a great pleasure to present the The Tate Americas Foundation Board The Tate Americas Foundation had a 2020-21 Annual Report of the Tate Americas continued to expand with the addition of remarkably successful year receiving funds Foundation. As it was for so many museums, Charlotte Santo Domingo and Christian to benefit the museum and its programming. this was an incredibly challenging year for Keesee. Both share a deep commitment to The Foundation received $21.8 million in gifts Tate. When Tate closed its galleries at the end art and Tate, and we will benefit from their and art. Through grants to Tate, TAF was of March 2020, it had just experienced one of passion and knowledge. The Latin American able to provide crucial support for important its most successful years in history - welcoming Acquisitions Committee and North American exhibitions such as Zanele Muholi and Lynette Paul Britton 8 million visitors, a record for the museum. Acquisitions Committee also continued to Yiadom Boakye, learning and education Chair This fiscal year has seen the galleries advance. Unable to meet in person, the programs which helped Tate stay connected remaining closed for most of the year. Despite Committees found new ways to stay engaged to its audience through new digital initiatives, these challenges, Tate and the Tate Americas and connected, utilizing a robust series and transformative acquisitions that helped Foundation achieved many successes, and we of digital programming and events that expand the Tate Collection to better reflect are pleased to share these with you. highlighted the artists they have supported the diverse audience of the museums. over the years. On top of finding new ways Tate showcased its curatorial excellence to connect, both Committees pledged their These successes were only possible due to through exhibitions that highlighted art support to benefit living artists impacted the generosity and support of our Board from the Americas. Iconic American artists by the pandemic. Finally, we thank Mark members, Committee members, patrons, Bruce Nauman and Andy Warhol both had Godfrey, Senior Curator, International Art, donors, and friends. The dedication from our major exhibitions at Tate Modern and Kara North America and curatorial lead with the supporters has been truly remarkable. This Walker transformed the Turbine Hall with her North American Acquisitions Committee who year emphasized the power of art to unite us monumental masterpiece Fons Americanus. left Tate at the end of the fiscal year with all. Through your combined gifts, Tate was The beginning of 2020 saw important a distinguished record of acquisitions and able to meet this moment and innovate to exhibitions by Theaster Gates and Vivian having curated many important exhibitions, find new ways to make art accessible. We are Suter on display at Tate Liverpool, and the including Soul of A Nation: Art in the Age of profoundly grateful for your generosity and Bob Rennie year ended with artist Aliza Nisenbaum Black Power. dedication to Tate. Thank you. President reflecting on the global pandemic with a solo exhibition in the galleries.

Paul Britton Bob Rennie Chair President

3

TRUSTEES

Abigail Baratta Eugenia Braniff Paul Britton (Chair) Wendy Fisher Glenn Fuhrman Pamela Joyner Christian K Keesee Bob Rennie (President) Jay Rivlin Charlotte Santo Domingo Kim Shirley Jay Smith

TRUSTEES EMERITI

Estrellita Brodsky John J. Studzinski CBE

EX-OFFICIO TRUSTEES

Tiqui Atencio Demirdjian (Co-Chair, Latin American Acquisitions Committee) Gregory R Miller (Co-Chair, North American Acquisitions Committee) Erica Roberts (Co-Chair, Latin American Acquisitions Committee) Christen Wilson (Co-Chair, North American Acquisitions Committee)

STAFF

Catherine Carver Dunn (Executive Director) Daniel Schaeffer (Director of Development) Meredith Gerrick (Director of Finance, Operations, and Acquisitions) TRUSTEES AND STAFF 4 ART ACQUISITIONS & GIFTS NJIDEKA AKUNYILI CROSBY

Njideka Akunyili Crosby’s paintings explore her hybrid cultural identity, reflecting her strong attachment to her Nigerian heritage and her current home in Los Angeles. Working with photography and painting, Akunyili Crosby’s multi-layered images of domestic scenes are built upon the artist’s personal reflections on history, community and politics. In her figurative paintings, subjects are often engaged in moments of relaxation and intimacy, challenging stereotypical representations of the black body in contemporary media. Addressing a British perspective, her work Remain, Thriving, explores the importance of cultural memory in relation to notions of place-making and diaspora.

Akunyili Crosby’s compositions combine drawn and painted surfaces with transferred images extracted from a variety of Nigerian pop cultural magazines, advertisements and online sources. Applying photocopies of these images with acetone and rubbing them onto the surface of the paper individually, each painting draws from amalgam of visual languages. Remain, Thriving, is made up of photo-collaged areas of transferred images reminiscent of the boldly patterned wallpaper found in many Afro-Caribbean households.

Remain, Thriving, was the first in a series of new works commissioned by Art on the Underground for Brixton Station. In order to anchor her new work in Brixton, a heartland of London’s cosmopolitan diaspora, Akunyili Crosby spent time speaking to members of the local community, as well as archivists at the Black Cultural Archives and the Lambeth Archives. While making the painting, Akunyili Crosby considered the local constituents who travel through the station everyday, who may even recognise familiar people and places in the work. Some of the locations featured have not survived the rapid redevelopment of the area, pointing towards the impact of gentrification, especially on migrant communities and businesses. The paintings hopeful title, Remain, Thriving, refers to the communities who, despite political and economic hardships, have remained vital to Brixton’s social ABOVE NJIDEKA AKUNYILI CROSBY fabric. Remain, Thriving 2019 Acrylic paint, transfer print on paper, coloured pencil, pastel, and collage on paper Osei Bonsu PREVIOUS PAGE 3658 x 1924 mm VIVIAN SUTER Purchased with funds provided by Michael and Sukey October 2019 Nisyros (Vivian’s Bed) 2016-17 Novogratz (Tate Americas Foundation) 2020 Purchased with assistance from Tate International Council © Njideka Akunyili Crosby and the Latin American Acquisitions Committee 2020 Courtesy the artist, Victoria Miro, and David Zwirner

6 DAWOUD BEY

Boy in Front of the Loew’s 125th Street Movie Theatre is one of the best-known photographs from Bey’s series of thirty-three prints, Harlem U.S.A. The series represents the beginnings of Bey’s photographic practice and was displayed in a monographic display at the Studio Museum, Harlem, in 1979. Throughout the series Bey captures a wide range of subjects, providing a representation of the neighbourhood during and post the civil-rights movement of the 1970s. Bey was influenced by the work of studio photographer James Van Der Zee (1886–1983) who took photographs during what would come to be termed the ‘Harlem Renaissance’ of the 1920s. Van Der Zee’s portraits of black subjects show the poise and dignity of his sitters. This interest in the human subject would come to characterise Bey’s portraiture work.

Bey worked on Harlem U.S.A over several years. Popular depictions of Harlem at the time lacked nuanced representation. Interested in the self-representation of his subjects, Bey realised that he did not want to present the same reductive image of the neighbourhood, stating in an interview: ‘I ended up making a collective picture of what Harlem actually presented to me rather than validate something I thought I knew about the community.’ (Interview with Dawoud Bey, The Chicago Reader, 5 February 2012). In this work, through the confident stance and conscious self-styling of the boy in front of a cinema, we see a vision of Harlem wherein young black individuals were interested in the politics of style and representation which proliferated throughout the civil rights movement of the 1950s and 1960s, developing into the ‘Black is Beautiful’ cultural movement.

Harlem U.S.A is both a documentation of place within a specific time, but also an exploration of photographic portraiture, and the relationship between artist and subject. As a black artist working in the US, Bey had a specific relationship with his subjects. Not entirely empirical, nor a nostalgic look at the inhabitants of a specific place, Harlem U.S.A is a series which sits between the two, as a subjective portrayal of Harlem and its inhabitants, by an artist who sat within the community he was photographing. Despite not wanting to create a reductive ‘positive’ image of Harlem, the series Harlem U.S.A does show the civic pride and engagement by the population who lived and worked there.

Emma Jones September 2020

DAWOUD BEY A Boy in Front of the Loew’s 125th Street Movie Theatre from Harlem U.S.A 1975, printed 2020 Photograph, gelatin silver print on paper 301 x 206 mm Number 1 of 2 artist’s proofs aside from the edition of 10 Lent by Tate Americas Foundation, courtesy of William and Elizabeth Kahane Foundation 2021 © Dawoud Bey, courtesy of Stephen Daiter Gallery

7 PETER DOIG

Peter Doig’s large painting Untitled (Ping Pong) 2006–8 demonstrates the ambiguity and sense of dislocation that typifies Doig’s work. A bare-chested lone man wearing a pair of white shorts is shown engaged in a game of table tennis against an unseen opponent. The table-tennis table is shown from the side so that its edge forms a thick white line that cuts horizontally across the lower half of the canvas. The setting is a lush landscape, presumably hot given the attire of the figure wielding the small red bat. The man is ankle-deep in bright green grass, yet beyond the table is a large grid of blueand black rectangles like a modernist abstraction, or brightly coloured tiled wall, set in front of a wooded landscape. This grid occupies much of the surface of the painting and renders the distinction between exterior and interior ambiguous.

Untitled (Ping Pong) was first shown in an exhibition of Doig’s new paintings at Gavin Brown’s Enterprise, New York, in 2009 alongside a number of other works that feature table tennis. In each of these works a single figure is depicted playing against an unseen rival. This isolated, anonymous figure is a motif that has recurred throughout Doig’s career. Similarly, the landscape setting with an ambiguous haunted aspect is another constant theme; the atmosphere is highly charged, yet the narrative is uncertain. Landscape and the figure continue to be the focus of Doig’s paintings, though combined more recently in ever more strange configurations. Doig’s work is inspired by the flow of things seen in everyday life and by the art he looks at, from past and present. It seems intensely personal, yet he often draws upon found photographic sources – newspaper images and postcards, as well as photos he has taken himself. Suffused with strangeness, his paintings have a dreamlike quality. They seem to hinge on the tension between narrative content and the formal, purely visual qualities of painting. The viewer is often pulled between reading the painting as a series of marks on canvas and as a representational image. His paintings are as much about the sensuous materiality of paint PETER DOIG Untitled (Ping Pong) 2006–8 as about the figurative subjects they portray. Oil paint on canvas 94 1/2 x 141 3/4 in (240 x 360 cm) Presented by The Roman Family Collection (Tate Americas Helen Delaney Foundation) 2020 © Peter Doig. All Rights Reserved, DACS/Artimage 2021 October 2010, updated September 2019 8 ALFREDO JAAR

In the work September 11, 1973 (Coke) 1982, a company calendar for the year 1973 has been modified by the artist. Starting from 11 September, Jaar has altered the dates on the calendar, repeating the number eleven until the end of the year, suggesting the total stagnation of time or the absence of any future. The date, 11 September 1973, refers to the day on which Chile’s first democratically-elected socialist president, Salvador Allende, was ousted by military coup of General Pinochet. The event led to a seventeen-year repressive dictatorship in the country.

Jaar produced this work in New York, shortly after relocating from Santiago. There he was exposed to news not available in his homeland detailing United States’ covert involvement in the overthrow of the Allende government. Jaar had created various artworks in Chile in the mid-1970s responding to the coup; with this work he returned to the subject by adapting a calendar so that time stops on this date.

The original calendar was produced by Coca-Cola for its ‘Buy the World a Coke’ advertisement that presented a group of young people from different races and classes singing about bringing the world together in ‘perfect harmony’. The calendar advertises by using idyllic landscapes that evoke a paradisiacal life of progress tied to consumerism—an imagery contested by a generation of left-leaning, anti-imperialist intelligentsia and the social movements of the 1960s and 1970s, especially across Latin America. Through Jaar’s intervention, these images of peace and harmony are interrupted by the intervention of dates, suggesting the unnatural experience of living in times of political crisis.

Inti Guerrero, Michael Wellen October 2019

ALFREDO JAAR September 11, 1973 (Coke) 1982, printed 2019 Six pigment prints mounted on board Overall dimensions 1612 x 1980 mm Number 3 in an edition of 3 Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2021 Photo © Tate (Matt Greenwood) 2020 9 LORNA SIMPSON

Haze is a unique large-scale serigraph on felt made by the artist in 1998. The central section is composed of six individual panels which are grouped and hung together, and is bookended by two smaller text panels which sit on either side. The work was produced by silkscreen printing individual sections of the black and white photographic image onto the felt panels so that they abut each other to form a coherent whole. The text panels narrate a conversation between two individuals who scan the skyline in search of a particular something or someone. Haze is part of a body of work begun in 1994 which has been grouped under the collective title of the Public Sex series.

Prompted by a desire to explore new possibilities in her practice, Simpson made the decision to exclude the human figure from her work in the early 1990s. Works from thePublic Sex series depict empty places – predominantly cityscapes and interiors – which ostensibly function as studies in the urban environment. Despite the physical absence of the human body from the work, however, it remains central to the narrative through the inclusion of lengthy text captions which frame each photographic image.

The accompanying text panels narrate a conversation between two individuals who scan the urban skyline for something, or someone, in particular. In an informal and familiar tone, the first individual offers a series of directions to the other, attempting to focus their gaze on a certain spot in the distance through reference to various architectural markers:

“Okay, one more time, look down the widest street – you got that… right – count 1-2-3-4 rooftops – then look across to your right, past the big railings of connecting balconies, and look for the tangle of antennas, across from the triangle roof – do you see that?”

The second individual is unable to locate what is being referred to, before the first concludes that whatever was being looked at is no longer on view; “wait they just got up and went inside – you missed it”. Despite the lack of any clarifying detail – and in the context of this body of felt works as a whole – the conversation insinuates that they have been using a position of elevated height and distance, or a concealed vantage point, to voyeuristically observe a couple engaged in a private act in a public space.

Hannah Johnston November 2019

LORNA SIMPSON Haze 1998 Serigraph on 6 felt panels with 2 felt text panels Overall: 68 x 69 in (172.7 x 175.3 cm) Each panel: 34 x 23 in (86.4 x 58.4 cm) Edition of 3 with 2 AP Lent by the Tate Americas Foundation, courtesy of an anonymous donor 2020 © Lorna Simpson Courtesy the artist and Hauser & Wirth 10 JOAN SNYDER

Dark Strokes Hope is a large landscape-format painting on canvas by Joan Snyder, made in New York in 1971. It is from a group of ‘Stroke Paintings’ (1969–72), a series recognised as being important within Snyder’s career. The surface is covered by an array of different strokes and marks made with various brushes and spray cans against an unpainted background. The strokes and marks are in several non- primary colours and paint types – including oil, acrylic and spray paint. Some paint is metallic and some gel-like. In some areas, groups of horizontal strokes are arranged in columns, or vertical strokes in rows, calling to mind the arrangement of information in lists and other documents. In one area silver strokes are arranged in a long arc. Some of the strokes are painted with thick dry paint; others were made while the brush was loaded and the paint wet, causing considerable drips and run-off beneath the strokes. In a couple of places, broad strokes are overpainted with thinner collections of different coloured strokes. Near the top right corner, an area of maroon paint has been peeled away from the surface; in another, to the right of centre, a single handprint has been made on the canvas. Plenty of space is left unpainted so that the beige colour of the canvas becomes an important colour in the composition.

Snyder, who was a student of Robert Morris (1931–2018), showed the ‘Stroke Paintings’ of 1971 at the Paley & Lowe Gallery in New York that year. Synder’s approach to painting challenged the viewer to look at painting in a new way: rather than taking in the whole canvas as a single composition, they had to read the painting as a compendium of different visual information, much as one would read a printed text. Snyder’s ‘Stroke Paintings’ are increasingly recognised as foundational for a generation of younger artists including Laura Owens (born 1970) and Jacqueline Humphries (born 1960) who have also taken apart and reconfigured the dominant language of American abstract painting.

Mark Godfrey February 2020

JOAN SNYDER Dark Strokes Hope 1971 Oil paint, acrylic paint and spray enamel on canvas 1981 x 2743 mm Lent by the Tate Americas Foundation, courtesy of Tate Americas Foundation and Komal Shah 2020

11 CECILIA VICUNA

Quipu Womb (The Story of the Red Thread, Athens) 2017 is a sculpture by Cecilia Vicuña composed from 52 red wool strands, referred to as chorros, that hang from a circular ring suspended from the ceiling. Quipu is the Spanish transliteration of the word for ‘knot’ in Cusco Quechua. The work draws upon the concept of the quipu that is a practice from the pre-Colombian period in Peru where they would tie cords into knots, with additional coloured strands attached, to record events, information and stories. Vicuña began creating quipus in 1966. This is the largest and arguably the most iconic since it debuted at Documenta 14 in Athens. Vicuña’s use of this technique is a reclaiming of indigenous practices that have been integral to her work as an artist and poet, calling the quipus as ‘poems in space’. Through the assortment of chorros that overtake the height of the gallery space Vicuña seems to suggest that Quipu Womb is an epic poem waiting to be told, while the visual effect of the cascading form has an affinity with water, which has also been a recurring feature in both her writing and performances.

The work can be connected to her broader interest in performance, language, textiles, ecology, and activism. Throughout her career Vicuña created performances around the construction and display of her works. While the sculpture was on display in Athens, Vicuña used excess portions of wool in a performance staged along the coastline titled Beach Ritual.

Michael Wellen, Fiontán Moran October 2020

CECILIA VICUÑA Quipu Womb (The Story of the Red Thread, Athens) 2017 ‘Wool, dye, rope and thread 9000 x 5000 x 5000 mm (approximately) Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee, and Juan Yarur Torres in honour of Cora and Cirilo Yarur Lecaros 2021

12 ART ACQUISITIONS

IAN CHENG GUERRILLA GIRLS YVONNE RAINER VIVIAN SUTER Something Thinking of You 2015 Guerrilla Girls Portfolio Compleat Update Five Easy Pieces 1966–9 Nisyros (Vivian’s Bed) 2016–17 Live digital simulation, sound 1991–2012 Film, 8mm and 16mm, black and white, Oil paint, pigment and fish glue on canvas Infinite duration Portfolio of 27 works: 21 posters (20 digital silent, transferred to DVD and paper, volcanics, earth, botanical matter, Dimensions variable prints on paper, 7 with accompanying digital 52 minutes 20 seconds micro-organisms and wood Number 7 in an edition of 7 and 1 AP prints on adhesive paper, and 1 inkjet print Unlimited edition Overall dimensions 3300 x 4850 x 4850 mm Purchased with funds provided by the Tate on paper); 4 videos; 2 books Display dimensions variable Americas Foundation 2020 Lent by the Tate Americas Foundation, Trio A 1978 Purchased with assistance from Tate courtesy of the North American Acquisition Film, 16mm, black and white, sound, International Council and the Latin American ______Committee 2020 transferred to DVD Acquisitions Committee 2020 10 minutes 30 seconds ______Cameraman: Robert Alexander ______TRISHA DONNELLY Producer: Sally Banes Untitled 2016 Unlimited edition Video ALFREDO JAAR CECILIA VICUÑA Duration variable September 11, 1973 (Coke) 1982, printed 2019 Lent by the Tate Americas Foundation 2020 Quipu Womb (The Story of the Red Thread, Six pigment prints mounted on board Athens) 2017 Untitled 2014 Overall dimensions 1612 x 1980 mm ______Unspun wool, twigs, string and other materials Video (looped) Number 3 in an edition of 3 9000 x 5000 x 5000 mm (approximately) 9 seconds Lent by the Tate Americas Foundation, Lent by the Tate Americas Foundation, courtesy courtesy of the Latin American Acquisitions CAMERON ROWLAND of the Latin American Acquisitions Committee, Untitled 2014 Committee 2021 Assessment 2018 and Juan Yarur Torres in honour of Cora and Digital image, still projection Late 18th-century English grandfather Cirilo Yarur Lecaros 2021 Dimensions variable ______clock acquired from Paul Dalton Plantation, Number 1 of 2 artist’s proofs aside from an Yemassee, South Carolina; 1848 tax receipt edition of 3 from Mississippi; 1852 tax receipt from DUANE LINKLATER Mississippi; 1860 tax receipt from Virginia Lent by the Tate Americas Foundation, courtesy Speculative apparatus for the work of 2438 x 3302 x 273 mm of the North American Acquisitions Committee nohkompan and nikosis 2016 Lent by the Tate Americas Foundation, and the Dallas Museum of Art, USA 2020 Concrete, stainless steel, tape, tobacco, courtesy of the North American Acquisitions flowers, video, high definition, flat screen, Committee 2020 ______computer case, sound (mono) 2 minutes 43 seconds ______Display dimensions variable JUAN MANUEL ECHAVARRÍA Lent by the Tate Americas Foundation, Requiem NN 2006–2015 courtesy of the North American Acquisitions JOAN SNYDER 65 photographs, digital print on paper, Committee 2020 Dark Strokes Hope 1971 face‑mounted to lenticular acrylic sheet Oil paint, acrylic paint and spray enamel on Each 400 x 400 mm canvas Number tbc in an edition of 3 1981 x 2743 mm plus 2 artist’s proofs Lent by the Tate Americas Foundation, Lent by the Tate Americas Foundation, courtesy of Tate Americas Foundation and courtesy of the Latin American Acquisitions Komal Shah 2020 Committee 2020 13 GIFTS

NJIDEKA AKUNYILI CROSBY GLENN BROWN DONALD LOCKE The Remains of Captain Bull #1 2001 Remain, Thriving 2018 Sex 2003 Folded Seed with Clip 1972–4 Wax, wood and steel frame Acrylic, transfers, colour pencil and collage Oil on panel Glazed ceramic, cast aluminum 317 x 279 x 178 mm on paper 1260 x 851 mm (4’ 1 5/8” x 2’ 9 1/2”) 229 x 305 x 203 mm 3658 x 1924 mm Presented by Teiger Foundation (Tate The Pork-Knocker Suite: Afro Leg 2003 Purchased with funds provided by Michael Americas Foundation) 2020 Twin Form 1976 Wax, artificial hair [?] and wood and Sukey Novogratz (Tate Americas Ceramic with matt black glaze 368 x 178 x 152 mm Foundation) 2020 ______Ed.2/5 203 x 76 x 76 mm Presented by Timothy Griffith (Tate Americas ______Foundation), 2020 PETER DOIG Imperial Echoes 1992 Untitled (Ping Pong) 2006–8 Acrylic paint, paper, wood and Perspex on ______FELICE BEATO Oil paint on canvas two canvases 12 photographs, albumen prints on paper 2400 x 3600 mm 1168 x 1575 mm 1 album, The Second Opium War 1860 album Presented by The Roman Family Collection MOHAN SAMANT of 6 photographs, albumen prints on paper, (Tate Americas Foundation) 2020 Mansions of the South 1996 In the Beginning there was a Man, a Woman including 2 panoramas Acrylic paint and paper on paper and a Benevolent Ghost 1980 ______380 x 600 mm Mixed media and sand on canvas FELICE BEATO and JAMES ROBERTSON 52 x 52 inches 27 photographs, albumen prints on paper JUAN MANUEL ECHAVARRÍA Mansions of the South 1996 Various dimensions Acrylic paint and paper on paper Untitled c.1985 Flower Vase Cut 1997 Mixed media with paper cut-outs on canvas Corte de florero 380 x 600 mm JAMES ROBERTSON 30 ½ x 24 inches 10 photographs, digital print on 76 photographs, albumen prints on paper paper mounted on card Mansions of the South 1996 1 album, Views of Greece and Turkey c.1855 Presented by Jillian Samant (Tate Americas Each 508 x 406.4 mm Acrylic paint and paper on paper album of 42 photographs, salted paper prints Foundation), 2020 Numbers tbc in an edition of 10 380 x 600 mm Presented by Michael G. and C. Jane Wilson Lent by the Tate Americas Foundation, ______courtesy of Estrellita Brodsky 2020 Untitled 1993 (Tate Americas Foundation), 2020 Acrylic paint on paper ______280 x 210 mm ______LORNA SIMPSON Haze 1998 Untitled 1993 Screenprint on felt, 6 panels plus 2 text ZOE LEONARD DAWOUD BEY Acrylic paint on paper panels I want a president 1992/2018 A Boy in Front of the Loew’s 125th Street 225 x 300 mm 1727 x 1753 mm Digital print on onion skin paper Movie Theater, Harlem, NY, 1976 Lent by the Tate Americas Foundation, 279 x 216 mm Gelatin silver photograph. 2020 print. Signed, Untitled 1993 courtesy of an anonymous donor 2020 Number 70 in an edition of 100 dated, and editioned “AP” in pencil by artist Acrylic paint on paper Lent by the Tate Americas Foundation, on print verso. 150 x 380 mm courtesy of Dorothy Berwin 2019 11 7/8 x 8 in. (30.2 x 20.3 cm) Lent by Tate Americas Foundation, courtesy of William and Elizabeth Kahane Foundation 2021

14 DANH VO Chair 1 2019 Aconitum souliei, Inflorescence portion Walnut wood / Lilium souliei, outer and inner tepel / 605 x 450 x 410 mm Anemone coelestina var. souliei, flowering plant / Rosa soulieana, fruit / Aconitum Rootball E 2019 souliei, cauline leaf / Anemone coelestina, Wood basal leaf / Anemone coelestina, carpel / 650 x 800 x 700 mm Luzula rufescens, flowering plant / Anconitum souliei, upper cauline leaf / Anemone Purchased with funds provided by the coelestina, basal leaf / Anemone coelestina, Council for Canadian American Relations, flowering plant / Rosa soulieana, fruiting courtesy of Eleanor and Francis Shen (Tate branch / Lilium souliei, distal portion of Americas Foundation) 2021 flowering plant / Nepeta souliei, flowering plant / Rosa soulieana, flowering branch / ______Cerasus fruticosa, fruiting branch / Cerasus tomentosa var. souliei, fruiting branch 2009 Wallpaper CATHERINE WAGNER Dimensions variable Construction Tarps 1974 Gelatin silver prints on paper 2.2.1861 2009 Uneditioned Paper and ink 500 x 610mm 298.5 x 209.6 mm Double X Construction 1976 Bye, Bye 2010 Gelatin silver prints on paper Photograph Uneditioned 489 x 375 mm 500 x 610mm

17.01.1980 2010 Rooftop Site II, San Francisco, CA 1978 Photograph on paper Gelatin silver prints on paper 60 x 40 mm Uneditioned frame: 314 x 245 x 35 mm (mount: 260 x 190 500 x 610mm mm) Presented by David Knaus (Tate Americas Foundation) 2021

15 SUPPORTED EXHIBITIONS SUPPORTED EXHIBITIONS

TATE MODERN TATE BRITAIN ANDY WARHOL AUBREY BEARDSLEY MARCH 12 – NOVEMBER 15, 2020 MARCH 4 – SEPTEMBER 20, 2020 Presented in The Eyal Ofer Galleries SUPPORTED BY IN PARTNERSHIP WITH The Aubrey Beardsley Exhibition Bank of America Supporters Circle: WITH ADDITIONAL SUPPORT FROM ​ Lydia and Manfred Gorvy​ The Andy Warhol Exhibition Tate Americas Foundation Supporters Circle: and Tate Members Lydia and Manfred Gorvy Tate Americas Foundation, Tate International Council, TATE BRITAIN Tate Patrons BRITISH BAROQUE and Tate Members POWER AND ILLUSION FEBRUARY 4 – MARCH 18, 2020 SUPPORTED BY TATE BRITAIN White & Case ART NOW WITH ADDITIONAL SUPPORT FROM COOKING SECTIONS The British Baroque Exhibition SALMON: A RED HERRING Supporters Circle: DECEMBER 2, 2020 – AUGUST 31, 2021 The Magic Trust SUPPORTED BY Samuel H. Kress Foundation The Art Now Supporters Circle: Philip Mould & Company​ Princess Alia Al-Senussi Tate Americas Foundation, Charles Asprey Tate International Council Jamie and Soli Gareh and Tate Patrons Emma and Fred Goltz Alexandra and Guy Halamish Tierney Horne Lyndsey Ingram Ltd James Lindon Catherine Petitgas Matthew Slotover and Emily King The William Brake Charitable Trust Thomas Dane Gallery Russell Tovey and those who wish to remain PREVIOUS PAGE Installation views, Zanele Muholi at Tate Modern anonymous © Tate (Andrew Dunkley) and Tate Americas Foundation TOP IMAGE With kind assistance from Veronique Parke Installation view, Andy Warhol at Tate Modern © Tate BOTTOM IMAGE Cooking Sections, Art Now: Salmon: A Red Herring Tate, 2020. Photo © Tate (Lucy Dawkins) 2020

17 TATE MODERN TATE BRITAIN BRUCE NAUMAN LYNETTE YIADOM-BOAKYE OCTOBER 7, 2020 – FEBRUARY 21, 2021 FLY IN LEAGUE WITH THE NIGHT SUPPORTED BY DECEMBER 2, 2020 – MAY 31, 2021 Terra Foundation for American Art SUPPORTED BY TOP IMAGE Lynette Yiadom-Boakye: Fly In League With The WITH ADDITIONAL SUPPORT FROM Denise Coates Foundation Night at Tate Britain 2020. The Bruce Nauman Exhibition WITH ADDITIONAL SUPPORT FROM Photo: Tate (Seraphina Neville) Supporters Circle: The Lynette Yiadom-Boakye Exhibition BOTTOM LEFT IMAGE Hyundai Commission: Kara Walker: Fons The Magic Trust Supporters Circle: Americanus Installation images: Laurel and Paul Britton Abigail and Joseph Baratta © Ben Fisher © Tate photography (Matt Josef W. Froehlich Amanda and Glenn Fuhrman Greenwood Lydia and Manfred Gorvy Pamela J Joyner and Alfred J Giuffrida BOTTOM RIGHT IMAGE Installation view of Bruce Nauman at Tate Modern David Meitus and Angela Westwater Lydia and Manfred Gorvy featuring Human Nature /Knows Doesn’t Know Tate Americas Foundation, Peter Dubens 1983/1986. Photograph by Tate Photography (Matt Tate International Council Tate Americas Foundation, Greenwood). Artwork (c) Bruce Nauman / ARS, NY and Tate Patrons Tate International Council, and DACS, London 2020 Tate Patrons and Tate Members TATE MODERN DORA MAAR NOVEMBER 20, 2019 – MARCH 15, 2020 TATE BRITAIN SUPPORTED BY STEVE McQUEEN YEAR 3 John J. Studzinski CBE NOVEMBER 12, 2019 – JANUARY 31, 2021 WITH ADDITIONAL SUPPORT FROM Year 3 is a partnership between Tate, Tate Americas Foundation, Artangel and A New Direction Tate Patrons SUPPORTED BY and Tate Members Joseph and Abigail Baratta De Ying Foundation Bloomberg Philanthropies TATE MODERN WITH ADDITIONAL SUPPORT FROM HYUNDAI COMMISSION Dana and Albert R. Broccoli KARA WALKER: Fons Americanus Charitable Foundation OCTOBER 2, 2019 – FEBRUARY 7, 2021 The Garcia Family Foundation IN PARTNERSHIP WITH Wagner Foundation Hyundai Motor and Tate Americas Foundation SUPPORTED BY Sikkema Jenkins & Co. WITH ADDITIONAL SUPPORT FROM Tate Americas Foundation

18 TATE BRITAIN TATE BRITAIN WINTER COMMISSION CHILA KUMARI SINGH BURMAN NOVEMBER 14, 2020 – FEBRUARY 28, 2021 SUPPORTED BY The Tate Britain Winter Commission 2020 Supporters Circle: Elena Bowes Priya Rath & Vishrut Jain Roland Rudd and those who wish to remain anonymous and Tate Americas Foundation

TATE BRITAIN TURNER’S MODERN WORLD OCTOBER 28, 2020 - SEPTEMBER 12, 2021 SUPPORTED BY The Manton Foundation WITH ADDITIONAL SUPPORT FROM The Turner’s Modern World Exhibition Supporters Circle: Tavolozza Foundation Tate Americas Foundation Tate International Council Tate Patrons and Tate Members

TATE MODERN ZANELE MUHOLI NOVEMBER 5, 2020 - MAY 31, 2021 LEFT IMAGE SUPPORTED BY Winter Commission: Chila Kumari Singh Burman – The Zanele Muholi Exhibition Remembering a Brave New World. Supporters Circle: Photo courtesy Tate photography (Joe Humphrys) TOP RIGHT IMAGE Veronica and Lars Bane Foundation Installation views, Zanele Muholi at Tate Modern The Mead Family Foundation © Tate (Andrew Dunkley)

Tate Americas Foundation, BOTTOM RIGHT IMAGE Tate International Council, Installation view, Turner’s Modern World at Tate Britain © Tate Tate Patrons FOLLOWING PAGE The Hyundai Commission: Kara Walker during UNIQLO Tate and Tate Members Late, Photo courtesy of Tate photography Research supported by Hyundai Tate Research Centre: Transnational in partnership with Hyundai Motor 19 OUR SUPPORTERS

LATIN AMERICAN NORTH AMERICAN ACQUISITIONS COMMITTEE ACQUISITIONS COMMITTEE

Tiqui Atencio Demirdjian (Co-Chair) Alin Ryan Lobo Gregory R Miller (Co-Chair) Sami Mnaymneh Erica Roberts (Co-Chair) José Luis Lorenzo Christen Wilson (Co-Chair) Shabin and Nadir Mohamed Anonymous Sofia Mariscal and Guillermo Penso Blanco Jacqueline Appel and Alexander Malmaeus Alexander Petalas Monica and Roberto Aguirre Denise and Felipe Nahas Mattar Dorothy Berwin John and Amy Phelan Francesca Bellini and Allan Hennings Susan McDonald Chrissy Taylor Broughton and Lee Broughton Laura Rapp and Jay Smith Celia Birbragher Gabriela Mendoza Dillon Cohen Stephanie Robinson Countess Nicole Brachetti Peretti Veronica Nutting Michael Corman and Kevin Fink Carolin Scharpff-Striebich Estrellita and Daniel Brodsky Victoria and Isaac Oberfeld James Diner Ralph Segreti Luis Javier Castro Silvia Paz-Illobre Mala Gaonkar Komal Shah Simone Coscarelli Parma Catherine Petitgas Jill Garcia Eleanor and Francis Shen H.S.H. the Prince d’Arenberg Claudio Federico Porcel Shari Glazer Kimberly and Jon Shirley Marta Regina Fernandez-Holmann Thibault Poutrel Amy Gold Beth Swofford Heloisa Genish Frances Reynolds Nina and Dan Gross Ann Tang Chiu Catalina Saieh Guzmán Roberto Ruhman Pamela J. Joyner Roberto Toscano and Nadia Toscano-Palon Barbara Hemmerle Gollust Teresa Sapey Peter Kahng Juan Carlos Verme Julian Iragorri Lilly Scarpetta Trish Kaneb Kelly Charlotte Wagner Aimée Labarrere de Servitje Richard Weinstein Nancy Kaneb Soule Derek Wilson Christian K Keesee Charles Kim DONOR MEMBER Anna Korshun Victoria Gelfand-Magalhães Margarette Lee Amy Gold Miyoung Lee James Lindon Marjorie and Michael Levine Mary Zlot Sheryl and Eric Maas Kathleen Madden and Paul Frantz DONOR TO NORTH AMERICAN ACQUISITION Jeff Menashe COMMITTEE Stavros Merjos Abigail Baratta Mohammad N. Miraly Holly Peterson Rachelli Mishori and Leon Koffler

ACQUISITION COMMITTEES 21

Anne H Bass Foundation Debby Brice Suzanne Deal Booth Pieter and Olga Dreesmann Doris Fisher Glenn Fuhrman Julius Gaudio Manfred S Gorvy Miriam L Haas Susan Hayden Richard Kramlich Leonard A Lauder David Meitus and Angela Westwater Gael Neeson Midge and Simon Palley Véronique Parke Catherine Petitgas Laura Rapp and Jay Smith Wendy Stark Morrissey Christen and Derek Wilson INTERNATIONAL Anita and Poju Zabludowicz COUNCIL

NORTH AND LATIN AMERICAN MEMBERS 22

$500,000+ $50,000 - 99,999 $25,000 - 49,999 The Galaxy Gives, a Donor Advised Fund of Candy Barasch Shane Akeroyd Anna Korshun Renaissance Charitable The Britton Family Foundation The Birnbaum Family Charitable Fund of the Richard and Pam Kramlich Michael and Sukey Novogratz Karen Cawthorn Argenio JEWISHcolorado Dale Mathias John J. Studzinski CBE Crankstart Dr Arani and Mrs Shumita Bose Mead Family Foundation The Gaudio Family Foundation Chrissy Taylor Broughton and Lee Broughton Hala and Sami Mnaymneh Lydia and Manfred Gorvy Michael A Chesser Shabin and Nadir Mohamed The Hartland & Mackie Family Foundation Constance Christensen Alexander V Petalas $100,000 - 499,999 Pamela J Joyner and Fred J Giuffrida Michael Corman and Kevin Fink Catherine Petitgas Anonymous Miyoung Lee and Neil Simpkins Suzanne Deal Booth Claudio Porcel Baratta Family Fund Laura Rapp and Jay Smith Tiqui Atencio Demirdjian and Ago Demirdjian Erica Roberts Deborah Loeb Brice Foundation Elizbeth Redleaf Wendy Fisher and The Kirsh Foundation Stephanie and Mark Robinson Dana & Albert R. Broccoli Charitable Bob Rennie Glenn Fuhrman Carolin Scharpff-Striebich Foundation Robert Soros Lisa Garrison Komal Shah Estrellita and Daniel Brodsky The Clarence Westbury Foundation Marian Goodman Gallery Kimberly R and Jon A Shirley Council for Canadian American Relations Mimi and Peter Haas Fund Roberto Toscano and Nadia Toscano-Palon Gladstone Gallery William and Elizabeth Kahane Foundation Josef Vascovitz and Lisa Goodman Shari and Ed Glazer Christian K Keesee Vital Projects Fund Holly Peterson Foundation Charles Kim Christen and Derek Wilson Helen and Charles Schwab Michael Kors and Lance Le Pere Mary Zlot The Shen Family Charitable Foundation Surgo Donor Advised Fund

DONORS

DONATIONS RECEIVED BETWEEN JANUARY 1, 2020 AND MARCH 31, 2021 23

$10,000-24,999 Marjorie and Michael Levine $5,000 - 9,999 Under $1,000 Monica and Roberto Aguirre Levy Gorvy 47 Canal Mark Burden Dilyara Allakhverdova James Lindon Elena Bowes Foundation Michael S Dannhauser Charitable Fund Jim Amberson José Luis Lorenzo The Broeksmit Family Foundation Bonnie and R Derek Bandeen Caro Macdonald Catherine Carver Dunn and David Dunn Work of Art Donor Anne H. Bass Foundation Sofia Mariscal and Guillermo Penso Blanco Emma Goltz Timothy Griffith Francesca Bellini and Allan Hennings Denise and Felipe Nahas Mattar Gray The Roman Family Foundation Dorothy Berwin Susan McDonald The Overbrook Foundation Jillian Samant Celia Birbragher Gabriela Mendoza Regen Projects Teiger Foundation Countess Nicole Brachetti Peretti Gregory R Miller Sybil Robson Orr Michael G and Jane Wilson Luis Javier Castro Mohammad N. Miraly The Philip and Irene Toll Gage Foundation Richard Chang Rachelli Mishori and Leon Koffler Dillon Cohen Nancy Nasher and David Haemisegger $1,000 - 4,999 Simone Coscarelli Parma Veronica Nutting Anonymous H.S.H. the Prince d’Arenberg Victoria and Isaac Oberfeld The Edward Ariowitsch Foundation and James Diner Midge and Simon Palley Audrey Wallrock Olga Dreesmann Veronique Parke Daphne and Robert Bransten Edlis-Neeson Foundation Silvia Paz Illobre Joseph Carfagna in honor of Paul Britton Hossein and Dalia Fateh Amy and John Phelan Family Foundation Bettie Cartwright Mrs. Donald G. Fisher Fonds de dotation Thibault Poutrel Averil Curci Diane B. Frankel Frances Reynolds James Dinan and Elizabeth Miller Paul Frantz and Kathleen Madden Renata and Roberto Ruhman Elizabeth Easton Charitable Fund Lilly Scarpetta Richard Edwards Mala Gaonkar Ralph Segreti Elizabeth and Anthony Enders Heloisa Genish Wendy Stark Morrissey Shaari Ergas Amy Gold Ann Tang Chiu The Fullgraf Foundation Hayden Family Foundation Marita Turnauer Anne Goldrach Barbara Hemmerle Gollust Juan Carlos Verme Gregory and Aline Gooding Peter Kahng Wagner Foundation Maggi and David Gordon Patricia Kaneb Kelly Peter Warwick Caroline Hansberry Arushi Kapoor Richard Weinstein Sharron Lewis Peter and Maria Kellner David Meitus and Angela Westwater Lunder Institute for American Art Anton Kern Gallery Angela K Westwater Foundation Melanie and David Niemiec Randall Kroszner and David Nelson Michael G and Jane Wilson Kristin Rey and Michael Rubel Leonard & Judy Lauder Anita and Poju Zabludowicz Sylvia Scheuer Magarette Lee Jessica Zirinis Ellen Spingarn Shapiro

24

ABOUT

The Tate Americas Foundation is a 501(c)(3) independent charity that supports the work of Tate CONTRIBUTION WORKS OF ART in the United Kingdom. It does this by acquiring works of art—by gift or acquisition— and by raising money to grant to Tate. The Foundation welcomes gifts from individuals, foundations CATEGORIES Support is welcomed from collectors who and corporations. Support may be given for general or specific projects including exhibitions, wish to strengthen Tate’s collection by education, capital projects, international programs, or endowment. making gifts of works of art. Please contact Support may be made on an annual basis, to us to allow us to confirm that Tate is able to The charity was founded in 1987 when Sir Edwin Manton and Lady Manton created the American one of three membership programs: accept your gift. Fund for the Tate Gallery, a restricted endowment to acquire works of art from North and Latin America for presentation to Tate. For over 32 years, this endowment has purchased seminal $1,000+ Tate Americas Foundation works by artists including John Baldessari, Louise Bourgeois, Philip Guston, Roni Horn, Joan Jonas, Patron Christian Marclay, Bruce Nauman, Hélio Oiticica, Cy Twombly, Cindy Sherman, David Smith, Jeff Wall, Lawrence Weiner, and many more. $1,500+ Tate Americas Foundation Double Patron PLANNED GIVING The Tate Americas Foundation formally opened offices in New York in 1999 to strengthen links with OPPORTUNITIES the arts community in North and Latin America. Since that time, it has received over $300 million $15,000 North American for Tate. TAF launched the North American Acquisitions Committee (NAAC) in 2001 which has Acquisitions Committee since acquired works from artists including Roni Horn, Louise Lawler, Josiah McElheny, Raymond Every gift, no matter the size, can help us build Pettibon, Robert Smithson, Kara Walker and Christopher Wool. The Latin American Acquisitions $15,000 Latin American and care for the collection. Your legacy will Committee (LAAC) was formed in 2003 and has acquired works from artists including Maria Acquisitions Committee ensure that resources are in place to help us Fernada Cardoso, Lygia Clark, Gego, Felix Gonzalez-Torres, Guillermo Kuitca, Cildo Meireles and plan and secure Tate’s future with confidence. Hélio Oiticica. For further information on bequests, life income plans (in exchange for cash, In addition to acquiring art, the Tate Americas Foundation makes grants to Tate using funds that marketable securities or other assets – it has raised. It supports numerous programs at Tate particularly in the fields of exhibitions, BESPOKE SUPPORT TO including works of art), please contact: scholarship, and education. TATE Catherine Carver Dunn Please contact us or visit www.guidestar.org if you wish to see IRS Form 990. From corporate sponsorship to individual Executive Director support of Tate’s exhibitions and programs, we Tate Americas Foundation work closely with our donors to identify projects 520 West 27 Street Unit #404 that align with their personal and philanthropic New York, NY 10001 interests and create bespoke opportunities to Tel: 212 643 2818 FOLLOWING PAGE Fax: 212 643 1001 Installation view, Steve McQueen Year 3 at Tate Britain enhance Tate’s work. © Tate Email: [email protected] 25 THANK YOU FOR YOUR SUPPORT