Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste Menich and Andrew Tullis Alex Beard Designed by Julian Bird Sue Cambridge Why Not Associates Martin Clark www.whynotassociates.com Caroline Collier Dr Penelope Curtis Photography by Anna Cutler James Deavin Chris Dercon www.jamesdeavin.com Rob Gethen Smith Dr Christoph Grunenberg Except pp.58-59, Tate Photography Adrian Hardwicke Andrea Nixon Paper supplied by Mark Osterfield Cheryl Richardson Howard Smith Paper Deirdre Robertson Marc Sands Printed by Sir Nicholas Serota The Colourhouse Kate Sloss www.thecolourhouse.com Vicente Todolí Rebecca Williams This report has been printed on Think4 Bright and Sovereign Gloss paper. These papers have been independently certified as meeting the standards of the Forest Stewardship Council (FSC), and were manufactured at a mill that is certified ISO14001. The inks used are all vegetable oil based. A view of Fiona Banner’s work for the Duveens Commission 2010 at Tate Britain, Harrier and Jaguar 2010 Contents Introduction 02 Collection Developing the Collection 10 Caring for the Collection 12 Research 14 Acquisition highlights 17 Programme Tate Britain 34 Tate Modern 36 Tate Liverpool 38 Tate St Ives 40 Programme calendar 42 Audiences Engaging audiences 44 Online and media 48 Sharing with the nation 50 Looking abroad 52 Improving Tate Staff and sustainability 54 Funding and trading 56 Future Developments Building for the future 58 David Batchelor’s Financial Review 60 ThisI Love report King’s isCross also and available to download inKing’s PDF Cross and Loveslarge-print Me, 8 versions – visit 2002–7 in the new BP British Donations, Gifts, Legacies and Artwww.tate.org.uk/tatereport Displays at Tate Britain Sponsorships 62 Introduction Single Form display 2 at Tate Britain Tate’s purpose is to enrich people’s lives through evolve the Collection, particularly while public their encounter with art. The relationship funding is constrained. between museums and audiences evolves over time and continues to change because of the Steve Seidel, the holder of the Bauman and impact of new technology and more demanding Bryant Chair in Arts and Education at the public expectations. Tate embraces this change Harvard Graduate School of Education, across the spectrum of its activity. was appointed as Tate’s first International Research Fellow, and is working closely with Sharing new insights Tate on future approaches to cultural learning. Tate’s work is founded on rigorous research, Tate Encounters, a three-year funded project ranging from the development of leading- with London South Bank University furthering edge conservation techniques to informing knowledge of Tate Britain’s audiences and Tate’s learning practice and presenting familiar their cultural identities, also reached its artists in a new light. Such perspectives were conclusion in June 2010. evident this year in the exhibitions Gauguin: Maker of Myth, Henry Moore, Picasso: Peace Achieving more through collaboration and Freedom and Peter Lanyon. Tate’s highly successful national partnership programme, Plus Tate, expanded this year Research also contributes to the development to embrace eighteen of the country’s most of the Collection and its display, as does the dynamic visual arts organisations. Peer dialogue with colleagues around the world – institutions have special access to Tate’s from Asia and Africa, to the Middle East and Collection and expertise, and the network South America. The resulting expertise forms is a platform for exchanging ideas. the basis of a broadening understanding of art history, which in turn shapes Tate’s acquisitions Supported by the Art Fund, ARTIST ROOMS and the character of the Collection. exhibitions continued to tour this year, reaching nineteen venues in communities up and down Important works were acquired this year by the country, from Eastbourne to Orkney. artists including Pak Sheung Chuen, Jimmie Durham, Boris Mikhailov, Felix Gonzales-Torres Tate is also part of a network of international and Do Ho Suh. Tate is enormously grateful to institutions that collaborate with one another, its various acquisition committees, Members sharing knowledge, exhibitions and loans of and Patrons, as well as other individual and works of art. Working at this level enables Tate institutional donors such as the Art Fund and to bring to its galleries important works, where the National Heritage Memorial Fund, all of they are seen by the world’s largest audience whom help Tate continue to strengthen and for British and modern art. Introduction Gauguin: Maker of Myth 4 at Tate Modern Working with and supporting living artists is May 2010 marked the ten-year anniversary of integral to Tate. This year commissions included Tate Modern. From the day it opened, it has been Harrier and Jaguar, two full-size fighter jet planes the world’s most visited gallery of modern art. shown in the Duveen Galleries by Fiona Banner This extraordinary public demand has placed at Tate Britain, and Sunflower Seeds, Ai Weiwei’s strains on the building, which was designed for installation of over 100 million individually only 2 million visitors a year. Tate Modern has handmade and painted porcelain sunflower been a catalyst for the transformation of public seeds in the Turbine Hall at Tate Modern. attitudes to the visual arts in the UK and for the regeneration of north Southwark. In its first ten New work was also created with Simon Starling, years over 45 million visitors passed through as part of his exhibition at Tate St Ives, and with the doors, fifty-two large exhibitions were Rineke Dijkstra at Tate Liverpool. Exhibitions of staged, 3.5 million people took part in learning work by Francis Alÿs, Susan Hiller, Gabriel Orozco, activities and over £100 million in economic Lily van der Stokker and Rachel Whiteread were benefits were contributed annually. also realised and programmes such as the Turner Prize at Tate Britain, the Liverpool Biennial Looking forward and the Level 2 programme at Tate Modern were The development of Tate Modern will provide important showcases of work by living artists sixty percent more space to display work. from across the world. The Collection has also grown in international scope and now embraces a wider range of Pausing to reflect artistic practice. In the new building there will In October Tate’s archive celebrated its fortieth be spaces to accommodate these changes. anniversary. This was marked by a display, There will also be state-of-the art learning spaces Forty Degrees of Separation, featuring writings integrated into the galleries, piloted through the by artists ranging from an affectionate letter opening of the renovated Clore Learning Centre from Constable to his wife to Jake Chapman’s in spring 2011, and much improved visitor and essay on a school visit to Tate. Over forty archives social spaces. were generously pledged as gifts, ensuring a wealth of future insights into the workings of Tate’s Trustees are pleased that the first phase British artists and institutions. Increasingly, the of the development of Tate Modern will open archive is not only a professional research tool, in the summer of 2012. This has been made but a highly visible vehicle for enhancing public possible by a number of generous donations understanding of art. The Naum Gabo display which together mean Tate has raised a at Tate Britain presented new research based on significant amount of the total capital costs archival material given by the family, which lent for the project. The launch will be part of the new insight into the artist’s work and practice. London 2012 Festival, a centrepiece of the Introduction 6 Rude Britannia at Tate Britain Cultural Olympiad, and includes the opening of in-Aid remains the base that underpins the spectacular Oil Tanks as new spaces for art. Tate’s ability to support its fundraising and The second phase will complete the building commercial activities, and present innovative and provide further floors of galleries. programmes to the UK public. Work on the Tate Britain Millbank Project Tate’s success is also the result of the expertise, began in spring 2011. Set to open in 2013, commitment and passion of all those who the development will transform spaces for art work at Tate. The Board of Trustees would like display, improve visitor facilities and circulation to express their appreciation to all Tate’s staff, and open up the first floor of the gallery to who continue to produce outstanding public use for the first time since 1927.