TATE AMERICAS FOUNDATION ANNUAL REPORT 2016 4 TRUSTEES

6 INTRODUCTION

8 ART ACQUISITIONS

28 COMMITTEES

30 INTERNATIONAL COUNCIL

32 DONORS

36 EVENTS

40 CONTRIBUTION CATEGORIES

Cover: Yoshua Okón Octopus 2011 CONTENTS © Courtesy of Mor Charpentier and the artist

BOARD OF TRUSTEES

Jeanne Donovan Fisher (Chair) Paul Britton Estrellita Brodsky James Chanos Henry Christensen III Glenn Fuhrman Pamela Joyner Noam Gottesman John J Studzinski, CBE Marjorie Susman Juan Carlos Verme EX-OFFICIO TRUSTEES

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

Richard Hamilton (Director) Virginia Cowles Schroth (Head of Development) Daniel Schaeffer (Events Manager)

TRUSTEES

4 5 I am delighted to introduce the latest annual report of the Tate Americas Foundation.

In 2016, we received nearly $13.4 million in cash gifts and made grants to Tate of $9.4million. Numerous projects at Tate were supported ranging from acquisitions, exhibitions, scholarship and capital programs, but we were particularly happy to have supported Robert Rauschenberg exhibition at .

A highlight of the past year was the opening of the Switch at Tate Modern, an iconic new building at the south end of the existing gallery that has created new spaces for exhibiting the collection, performance and installation art and learning, allowing visitors to engage more deeply with art. We are enormously proud that the Tate Americas Foundation, thanks to its supporters, was able to make over $50 million in grants to this capital campaign over the last few years.

This past May we held our fourth Artists Dinner in . The event raised over $1.5 million and was skillfully led by an energetic group of Co-Chairs: Estrellita Brodsky, Kira Flanzraich, Pamela Joyner, Komal Shah, Robert Sobey, Christen Wilson and Juan Yarur Torres. Our deepest thanks goes to the committee and all supporters for helping consolidating the event as a key fixture in contemporary art calendar. There is no other art world event that celebrates contemporary artists with such passion and joy and I hope that as many of you as possible will join us for the next dinner on May 8, 2019.

Towards the end of 2016, Tate’s visionary director, Sir , announced that he would be retiring in mid-2017 after nearly three decades. It goes without saying that Nick’s contribution in transforming Tate has been remarkable but without his commitment to the Tate Americas Foundation there would not be such an important and vibrant network of supporters across the Americas. We all owe Nick a deep debt of gratitude for his guidance and leadership.

Thank you for your support, as always!

Jeanne Donovan Fisher INTRODUCTION Chair, Tate Americas Foundation

6 7 ART ACQUISITIONS KEVIN BEASLEY

Your face is / is not enough, 2016 was made for Between the Ticks of the Watch, a group exhibition at the Renaissance Society in Chicago in 2016. It is an installation comprising twelve individual sculptures and a performance that takes place at its opening. Eleven of the sculptures consist of a microphone stand topped by an altered and encased gas mask, and an altered and encased megaphone resting at the base of the stand. The twelfth sculpture is just the altered gas mask and the altered megaphone, without a microphone stand. The materials used to alter and encase the gas marks and megaphones include found thrift-store clothes, feathers, baseball caps and umbrellas. These fabrics are sometimes filled with polyurethane foam and sometimes hardened after being soaked in resin. These are materials Beasley has used previously in his sculptural work.

Whenever the work is installed, a performance takes place on the occasion of the opening. Twelve performers wear the altered gas masks over their heads and carry the megaphones. Each stops beside a microphone stand attaches the hand-held voice-receiver of the megaphone to the nozzle of the gas masks using Velcro, and begin a series of three deep and audible breaths followed by a loud ‘AAH’ sound. This sequence is repeated thirty times over a period of several minutes. At the end of the sequence, the receiver is detached from the gas mask, and re-attached to the megaphone. The megaphone is rested on the floor, and the mask is placed on top of the stand. The performers bow and leave the space. Thereafter, the work is experienced as a sculptural installation.

Though some of the sculptures recall the shapes of cartoon characters with Mickey Mouse or Bugs Bunny ears, the incorporation of gas masks and megaphones in all the sculptures cuts against associations of child-friendly characters. Instead, the masks and megaphones bring to mind protective wear for riots and war, as well as equipment used in protests. In the current context, they evoke the gassing of civilians in Syria and unrest in African American communities over the past few years, and the protests that have taken place following the succession of killings of black men by police.

Mark Godfrey, Senior Curator, International Art (Europe and the Americas)

Your face is / is not enough 2016 Mixed media Dimensions variable Lent by the Tate Americas Foundation, courtesy of the North American Acquisitions Committee, 2016 © Tom Van Eynde, Courtesy the artist, Casey Kaplan, New York and The Renaissance Society at the University of Chicago

10 11 WILLIAM EGGLESTON

William Eggleston is one of the most important living photographers, known primarily for his rich and complex color photographs of the American South. Eggleston was identified in the 1970s by the leading critic and curator of photography John Szarkowski as among the most important and innovative photographers working in color, with his work being characterized by bold arrangements of form and strong color balance, printed using a highly complex and expensive process called ‘dye transfer’. Dye transfers allow the various colors within a photographic print to be printed as separations, maintaining strong red and green tones within a single image, they are also extremely durable to light exposure, and so perfect for museum collections. Eggleston’s historic dye transfer works are among the most valuable post-war photographs on the market today.

Eggleston’s subject matter varies considerably but primarily concerns everyday life in the southern states of America, often around the city of Memphis where Eggleston has lived and worked for much of his life. The ten images for Election Eve 1976 were made during a road trip in the state of Georgia, around Plains County and Sumter County (which housed Jimmy Carter’s headquarters), on the eve of the American election in 1976, and depict life in what appears to be an abandoned and outmoded corner of the country as a moment of high tension and anxiety takes place on the national stage. The works from the series Chromes were taken in the early 1970s. Although they were never before printed in this format, they include some characteristic and iconic elements of Eggleston’s style: bold colorful interiors, cars and gasoline stations, and portraits, both of individuals known to Eggleston and strangers encountered in the street. In his work Eggleston pays close attention to the complexity of the formal organization of the composition, often employing strong diagonal lines and reflections, but he also relishes the power of strong contrasts in color with vivid reds, blues and greens.

Simon Baker, Senior Curator, International Art (Photography)

Portfolio of 42 photographs, dye transfer prints on paper 10 from the series Election Eve 1976, printed 2012, of which 8 are 508 x 609 mm 20 x 24 inches), and 2 are 609 x 508 mm (24 x 20 inches) 32 from the series Chromes 1970–3, printed 2012, of which 23 are 406 x 508 mm (16 x 20 inches), 9 are 508 x 406 mm (20 x 16 inches) Number 3 in an edition of 10 Presented by Michael and Jane Wilson in honor of Sir Nicholas Serota (Tate Americas Foundation) 2016 © Eggleston Artistic Trust. Courtesy David Zwirner, New York/London

12 13 YOSHUA OKÓN

Yoshua Okón is among the most prominent of a generation of artists who emerged in Mexico during the 1990s. Octopus 2011 is a four-channel video installation. Videos are projected on four different walls at different scales and heights and visitors are invited to view the footage while sitting on upturned red, plastic buckets. The footage shows a re-enactment scene intended to portray the thirty-six year long civil war in Guatemala from 1960s to 1996, being carried out in the parking lot of a DIY store called The Home Depot in Los Angeles. Groups of unarmed men are shown miming weapons. Casually dressed they are grouped according to their black or white t-shirts and riding supermarket carts and trolleys, or else crawling like commandos on the asphalt. The men engaged in this activity are illegal immigrant workers and former combatants from the war in Guatemala who, displaced after the war, come to find informal work as day-laborers by waiting in the parking lot of The Home Depot.

The title of the work – in Spanish, “Pulpo”, meaning octopus, is the nickname given to The United Fruit Company (now called Chiquita Banana) in Guatemala, a company which was implicated in the origins of the conflict through its links with the CIA-led coup to overthrow President Jacobo Árbenz that triggered the war. The United Fruit Company, a US firm, at the time of the civil war was Guatemala’s largest landowner and possessed tax-exempt export privileges dating back to 1901. It accounted for 10% of the Guatemalan economy through a monopoly of the ports and rights over the railways and communications systems.

Tanya Barson, Curator, International Art, Tate Modern

Octopus 2011 Pulpo Four channel video installation, color, sound and red plastic stools 18 min 31 sec, looped Overall display dimensions variable Edition of 3 plus 1 AP To be purchased by Tate Americas Foundation, courtesy of Juan Carlos Verme and the Latin American Acquisitions Committee © Courtesy of Mor Charpentier and the artist

14 15 THE MARTIN PARR PHOTOBOOK COLLECTION

Over the past twenty-five years, Martin Parr built up his extraordinary collection of photobooks to be one of the most prolific and comprehensive of its kind worldwide. The Martin Parr Collection, which consists of over 12,000 photobooks, is singular in its scope, and comprises an unprecedented range of subjects, geographies and types of practice. It includes not only many of the most iconic volumes in the history of photography, but also little-known rarities as well as unparalleled holdings of work by amateur or anonymous photographers. The acquisition of the Martin Parr Photobook Collection not only reaffirms the continued prominence of photography within Tate’s vision, but also provides a wealth of material in the specific areas of interest determined by Tate’s regional Acquisition Committees. In order to realize this momentous acquisition, Tate asked for funding support from the Photography Acquisitions Committee, as well as the Asia Pacific, Russia and Eastern Europe, Latin America, and Middle East and North Africa Acquisitions Committees, as well as the Tate Americas Foundation, The Art Fund and private donors.

The Martin Parr Collection complements Tate’s permanent collection in its extensively international breadth. A large number of the artists in Parr’s collection are currently represented by Tate, and many of the themes, practices and time periods explored are central to both Tate’s current holdings and its future acquisitions strategy. Moreover, it encompasses both the twentieth and twenty-first centuries, featuring seminal works from early modernism, the interwar and post-war periods, and contemporary practice. With diverse examples from several of Tate’s regional areas of concentration, the Martin Parr Collection with enriches Tate’s collection as a whole and position Tate as the institutional world leader in the promotion and exhibition of photobooks.

Zmira Zilkha, Curatorial Assistant, Collections International Art

Collection of c.12,000 photobooks 19th–21st century Dimensions variable To be purchased with funds generously provided by the LUMA Foundation and with assistance of Tate Members, Art Fund, Tate Americas Foundation, Photography Acquisitions Committee, Asia-Pacific Acquisitions Committee, Latin American Acquisitions Committee, Russian and Eastern Europe Acquisitions Committee and Middle East and North Africa Acquisitions Committee. © Tate

16 17 JOAN SEMMEL

Joan Semmel was born in New York in 1932 where she lives and works. A key figure of the first generation of feminist artists, she is best known for works which make use of her own nude body to address female sexuality, issues of identity and aging. Semmel was not represented in Tate’s collection until this gift, but her work stands as a counterpoint to a number of artists from the same generation working with abstraction, complementing work by feminist artists already in the collection, such as Hannah Wilke and Lynda Benglis.

Secret Spaces is a large-scale oil painting on canvas produced by the artist in 1976. It depicts a nude female body, tightly framed within the composition against a narrow strip of blue ground at the top of the canvas. Produced from a photographic image of her own body that the artist captured herself, the painting employs a radically foreshortened perspective. A staunch advocate for women’s rights, Semmel’s ‘sex paintings’ from the early 1970s represented the artist’s efforts to assert female agency. Reclaiming the female nude for her own agenda and refusing the romanticization of popular culture, she portrayed couples engaged in sexual activity as equal partners. In the mid-1970s, however, the artist turned to her own nude body as subject matter, alongside artists such as Hannah Wilke (1940–1993) and Carolee Schneemann (born 1939) who had likewise viewed it as a way in which to subvert the male gaze. In these self-portraits – of which Secret Spaces is an example – Semmel worked from photographs that she took of herself, the resultant images are intimate representations of her own body as experienced by herself, and liberate the female nude from the male spectator by ensuring that it is experienced from a female perspective.

Hannah Johnston, Assistant Curator, Tate Modern

Secret Spaces 1976 Oil paint on canvas 1727 x 1727 mm (68 x 68 inches) Presented by David and Maria Wilkinson (Tate Americas Foundation) 2016 Courtesy Alexander Gray Associates, New York © 2016 Joan Semmel / Artists Rights Society (ARS), New York

18 19 LORNA SIMPSON

Lorna Simpson emerged during the 1980s as part of a generation of artists developing post-conceptual practices. Her work addresses identity politics and racial and gender stereotyping from an African American perspective through the combination of image and text, and whilst she was first known for her engagement with photography, she has produced collages and works on paper since the late 2000s. Painting represents the newest element of her multidisciplinary practice.

Then & Now is a large-scale painting on clayboard made by the artist in 2016. Taken by a photographer for the Detroit Free Press, the imagery appropriated by Simpson for the top section is an iconic photograph of 12th Street in Detroit during the 1967 race riots, one of the most violent and destructive urban riots in United States history. By appropriating imagery from a key moment in the history of the Civil Rights movement, Simpson demonstrates her ongoing interest in race and identity politics. However, as the title of the work – Then & Now – suggests, the painting represents two different periods of social unrest. Offering a dialogue between past and present, the work connects the events of 1967 to an increasingly turbulent present, where civil conflict, and debates about police brutality and disproportionate violence towards African American citizens continue to dominate news headlines. By using the title to conflate then and now. The work seems to suggest that – despite half a century of progress – racial injustice remains an ever-present factor of contemporary life. Incorporating an understanding of past and present, and representative of a new engagement by Simpson with the fluidity of ink, Then & Now is a painting that is both historic and contemporary, evocative of the ongoing legacy of racial inequality in the United States.

Hannah Johnston, Assistant Curator, Tate Modern

Then & Now 2016 12 panels, ink and screenprint on clayboard Each 914 x 610 mm (36 x 24 inches) Overall display dimensions 2438 x 2743 mm (96 x 108 inches) Lent by the Tate Americas Foundation, purchased using endowment income 2016 © 2017 Lorna Simpson

20 21 LATIN AMERICAN ART ACQUISITIONS

Art Acquisitions Leonora Carrington 1917–2011 Carlos Leppe 1951–2015 Marta Minujin born 1941 Leticia Parente 1930–1991 The Martin Parr Transferencia 1963 The Singers from Waiting Room Mattress 1962 Trademark 1975 Photobook Collection Oil paint on board 1980–1 Painted mattress Marca Registrada Collection of c.12,000 570 x 1030 mm Las Cantatrices from Sala 1000 x 700 mm Single channel video photobooks (22½ x 40½ inches) de espera (39½ x 27½ inches) 10 min 33 sec 19th–21st century To be purchased by the Four single channel videos, 1200 x 550 mm Overall display dimensions Dimensions variable Tate Americas Foundation, color, sound (47¼ x 21¾ inches) variable To be purchased with funds purchased with assistance Overall display dimensions To be purchased by Edition no. 7 of 8 plus 2 APs generously provided by the from the Latin American variable Tate Americas Foundation, LUMA Foundation and with Acquisitions Committee and Edition 2/5 + 2 AP courtesy of the Latin American Preparation I 1975 assistance of Tate Members, using endowment income To be purchased by Acquisitions Committee Preparação I Art Fund, Tate Americas Tate Americas Foundation, Single channel video Foundation, Photography courtesy of Juan Carlos Verme 3 min 30 sec Acquisitions Committee, Asia- Claudio H. Feliciano and the Latin American Yoshua Okón Overall display dimensions Pacific Acquisitions Committee, Calçadão c.1977–8 Acquisitions Committee Octopus 2011 variable Latin American Acquisitions Photograph, gelatin silver print Pulpo Edition no. 6 of 8 plus 2 APs Committee, Russian and Eastern on paper Four channel video installation, Europe Acquisitions Committee 367 x 290 mm Roberto Marconato color, sound and red plastic Preparation II 1976 and Middle East and North Africa (14½ x 11½ inches) Dispute c.1966 stools Preparação II Acquisitions Committee Lent by Tate Americas Photograph, gelatin silver print 18 min 31 sec, looped Single channel video Foundation, courtesy of the on paper Overall display dimensions 7 min 40 sec Latin American Acquisitions 397 x 300 mm variable Overall display dimensions José Yalenti 1895–1967 Committee 2016 (15⅝ x 11¾ inches) Edition of 3 plus 1 AP variable Parking c.1950 To be purchased by Edition no. 6 of 8 plus 2 Aps Photograph, gelatin silver print B5 c.1965 Tate Americas Foundation, To be purchased by on paper Ivo Ferreira da Silva Photograph, gelatin silver print courtesy of Juan Carlos Verme Tate Americas Foundation, 280 x 390 mm Ghost City c.1960 on paper and the Latin American courtesy of the Latin American (11 x 15½ inches) Photograph, gelatin silver print 290 x 390 mm Acquisitions Committee Acquisitions Committee Lent by Tate Americas on paper (11½ x 15½ inches) Foundation, courtesy of the 290 x 390 mm Lent by Tate Americas Latin American Acquisitions (11½ x 15½ inches) Foundation, courtesy of the Committee 2016 Lent by Tate Americas Latin American Acquisitions Foundation, courtesy of the Committee 2016 Latin American Acquisitions Committee 2016

22 23 NORTH AMERICAN ART ACQUISITIONS

Romare Bearden 1911−1988 Judy Chicago from Butterfly Vagina Erotica 1975 Tony Conrad 1940–2016 The Martin Parr The Street 1964 Love Story 1971 The Approach, The Descent, Ten Years Alive on the Infinite Plain Photobook Collection Photostat on fibreboard Offset lithograph on paper The Contact, The Throb (1972–2016) 1972–2016 Collection of c.12,000 50.8 x 62.7 cm 413 x 318 mm 4 lithographs on paper Four 16mm film loops photobooks (20 x 24¾ inches) (16¼ x 12½ inches) Each 254 x 254 mm 90 min, looped 19th–21st century Unnumbered example from (10 x 10 inches) Digital audio recording Dimensions variable Mysteries II 1964 an edition of 100 Number 2 in an edition of 15 90 min, looped To be purchased with funds Photostat on fibreboard Number 1 in an edition of 1 generously provided by the 128 x 158.8 cm Gunsmoke 1971 What is Feminist Art? 1977 LUMA Foundation and with (50½ x 62½ inches) Offset lithograph on paper Lithograph on paper Loose Connection 1972/2011 assistance of Tate Members, 445 x 546 mm 318 x 254 mm Super 8 film and magnetic tape Art Fund, Tate Americas Pittsburgh Memory 1964 (17½ x 21½ inches) (12½ x 10 inches) printed to 16mm film transferred Foundation, Photography Photostat on fibreboard Unnumbered example from Number 45 in an edition of 120 to HD video Acquisitions Committee, Asia- 128 x 161.3 cm an edition of 100 54 min, 54 sec Pacific Acquisitions Committee, (50½ x 63½ inches) Atmospheres: Duration Number 1 in an edition of 5 Latin American Acquisitions Lent by Tate Americas Red Flag, Artist Proof 4 1971 Performance with Fireworks To be purchased by Committee, Russian and Eastern Foundation, using endowment Photo etching on paper 1968–1974 2016 Tate Americas Foundation, Europe Acquisitions Committee income 2016 508 x 610 mm (20 x 24 inches) DVD using endowment income and Middle East and North Africa Number 50 in an edition of 94 14 minutes, 14 seconds Acquisitions Committee. Number 2 of 2 artist’s Kevin Beasley Menstruation Bathroom from proofs aside from an as yet Theater Gates Your face is / is not enough Womanhouse 1972, printed unnumbered edition Tarred vessel 2015 Lorna Simpson 2016 c.1972 To be purchased by Tate Cotton, metal, glazed clay, plastic Then & Now 2016 Mixed media Photograph, silver gelatin print Americas Foundation, using and tar 12 panels, ink and screenprint Dimensions variable on paper endowment income Vessel 790 x 510 mm on clayboard Lent by the Tate Americas 610 x 457 mm Pedestal 533 x 610 x 590 mm Each 914 x 610 mm Foundation, courtesy of the (24 x 18 inches) Purchased with assistance from (36 x 24 inches) North American Acquisitions Michael and Jennifer Forman, Overall display dimensions Committee 2016 Peeling Back 1974 Joel and Sherry Mallin, Billy 2438 x 2743 mm Offset lithograph on rag paper and Lillian Mauer, the John and Lent by Tate Americas 724 x 559 mm Patty McEnroe Foundation and Foundation, using endowment (28½ x 22 inches) Omer Ozyurek (Tate Americas income 2016 Number 80 in an edition of 95 Foundation), 2016

24 25 GIFTS

Kutluğ Ataman White on White 2007 32 from the series Chromes György Kepes 1906–2001 Stephen Shore January 2001 2001, Journey to the Moon 2009 Oil on canvas 1970–3, printed 2012 Green Leaves and Geometry Ukraine 2012–13 printed 2003 11 photographs, inkjet prints 35.6 x 30.5 cm Photographs, dye transfer prints c.1940s 36 photographs, C-prints Photograph, C-print on paper on paper (14 x 12 inches) on paper Gouache on paper on paper 914 x 1080 mm Each 314 x 416 mm Presented by Andrea Rosen 23 are 406 x 508 mm 508 x 381 mm Each 406 x 508 mm (36 x 42½ inches) (Each 12½ x 16½ inches) (Tate Americas Foundation) 2016 (16 x 20 inches), (20 x 15 inches) (16 x 20 inches) Number 4 in an edition of 8 Number 1 in an edition of 3 9 are 508 x 406 mm Presented by Michael and Presented anonymously (20 x 16 inches) Bird and Mastodon c.1940s Jane Wilson in honor of February 2001 2001, (Tate Americas Foundation) 2016 Hanne Darboven 1941–2009 Presented by Michael and Gouache on paper Sir Nicholas Serota printed 2003 Four Seasons >81< 1981 Jane Wilson in honor of 533 x 381 mm (Tate Americas Foundation) 2016 Photograph, C-print on paper Vier Jahreszeiten >81< Sir Nicholas Serota (21 x 15 inches) 914 x 1080 mm Louise Bourgeois 1911–2010 Ink, photographs, postcards, (Tate Americas Foundation) 2016 Presented by Michael and (36 x 42½ inches) Knife Couple 1949 printed material on paper in Jane Wilson in honor of Jem Southam Number 4 in an edition of 8 Stained wood and stainless steel 698 parts Sir Nicholas Serota Brampford Speke 1996, Presented by Michael and 174 x 30.5 x 30.5 cm Each 413 x 251 mm Graciela Iturbide (Tate Americas Foundation) 2016 printed 2003 Jane Wilson in honor of (68½ x 12 x 12 inches) (16⅛ x 10 inches), framed; 50 photographs Photograph, C-print on paper Sir Nicholas Serota Lent by the Tate Americas overall display dimensions: Gelatin silver prints on paper 800 x 1016 mm (Tate Americas Foundation) 2016 Foundation, Courtesy of 2477 x 29345 mm Various dimensions Theodore Roszak 1907–1981 (31½ x 40 inches) The Easton Foundation in (97½ x 1155¼ inches) Presented by Michael and Monument to Unknown Number 1 in an edition of 6 Honor of Frances Morris, 2016 Presented by The Glenstone Jane Wilson in honor of Political Prisoner 1951–52 Lenore G. Tawney 1907–2007 Foundation (Tate Americas Sir Nicholas Serota Ink on paper Brampford Speke 1998, 3 Sculptures and 6 Drawings 54 Prints Foundation) 2016 (Tate Americas Foundation) 2016 575 x 746 mm printed 2003 Various mediums Various mediums (23¾ x 29½ inches) Photograph, C-print on paper Various dimensions Various dimensions Presented by Sara Jane Roszak, 800 x 1016 mm Presented by Lenore G Tawney Lent by the Tate Americas William Eggleston Barbara Kasten the artist’s daughter (31½ x 40 inches) Foundation, New York Foundation, Courtesy of 10 photographs from the series Untitled 11 1979 (Tate Americas Foundation) 2016 Number 1 in an edition of 6 (Tate Americas Foundation), 2016 The Easton Foundation and Election Eve 1976, printed 2012 Gelatin silver print on paper Osiris 2016 Photographs, dye transfer prints 508 x 406 mm March 2000 2000, on paper (20 x 16 inches) Joan Semmel printed 2003 8 are 508 x 609 mm Secret Spaces 1976 Photograph, C-print on paper Gillian Carnegie (20 x 24 inches), and Untitled 13 1979 Oil paint on canvas 914 x 1080 mm Voi 2004 2 are 609 x 508 mm Gelatin silver print on paper 1727 x 1727 mm (36 x 42½ inches) Oil on canvas (24 x 20 inches) 508 x 406 mm (68 x 68 inches) Number 3 in an edition of 8 193.04 x 135.26 cm (20 x 16 inches) Presented by David and (76 x 53 inches) Presented by David Knaus Maria Wilkinson December 2000 2000, (Tate Americas Foundation) 2016 (Tate Americas Foundation) 2016 printed 2003 Photograph, C-print on paper 914 x 1080 mm (36 x 42½ inches) Number 1 in an edition of 8

26 27 LATIN AMERICAN NORTH AMERICAN ACQUISITIONS COMMITTEE ACQUISITIONS COMMITTEE

Tiqui Atencio Demirdjian (Chair) Erica Roberts Gregory R Miller (Co-Chair) Laura Rapp and Jay Smith Ghazwa Mayassi Abu-Suud Judko Rosenstock Christen Wilson (Co-Chair) Robert Rennie Monica and Robert Aguirre Lilly Scarpetta Carol and David Appel Kimberly Richter and Jon Shirley José Alcantara Camila Sol de Pool Jacqueline Appel and Alexander Malmaeus Carolin Scharpff-Striebich Luis Benshimol Juan Carlos Verme Mandy Karen Cawthorn Argenio Komal Shah Celia Birbragher Tania and Arnoldo Wald Abigail Baratta Dasha Shenkman OBE Estrellita and Daniel Brodsky Juan Yarur Torres Dorothy Berwin and Dominique Lévy Donald R Sobey Miguel Angel Capriles Cannizzaro Teresita Soriano Zucker Laurel and Paul Britton Robert Sobey Trudy and Paul Cejas Dillon Cohen Beth Swofford HSH the Prince Pierre d’Arenberg Matt Cohler Dr Diane Vachon Patricia Fossati Druck Michael Corman and Kevin Fink Juan Carlos Verme Angelica Fuentes de Vergara Theo Danjuma Derek Wilson Catalina Saieh Guzmán Anne Dias Leyli Zohrenejad Valery and Ronald Harrar James E Diner Barbara Hemmerle-Gollust Wendy Fisher Carola Hinojosa Amanda and Glenn Fuhrman Marta Regina Fernandez Holman Jill Garcia Julian Iragorri Victoria Gelfand-Magalhaes (Social Member) Anne-Marie and Geoffrey Isaac Amy Gold (Social Member) Nicole Junkermann Nina and Dan Gross Tulsi Karpio Pamela J Joyner Alin Ryan Lobo Monica Kalpakian José Luis Lorenzo Elisabeth and Panos Karpidas Milagros Maldonado Tulsi Karpio Fatima and Eskander Maleki Christian Keesee Francisca Mancini Anne Simone Kleinman and Thomas Wong Denise and Filipe Mattar Marjorie and Michael Levine Susan McDonald James Lindon (Social Member) Veronica Nutting Rebecca Marks Victoria and Isaac Oberfeld Lillian and Billy Mauer Esther Perez Seinjet Liza Mauer and Andrew Sheiner Catherine Petitgas Nancy McCain Claudio Federico Porcel Jeff Menashe Thibault Poutrel Stavros Merjos Frances Reynolds Rachelli Mishori and Leon Koffler Megha Mittal Shabin and Nadir Mohamed Jenny Mullen Elisa Nuyten and David Dime COMMITTEES Amy and John Phelan

28 29 ARGENTINA Jacqueline and Marc Leland Jorge and Sylvie Helft Mr and Mrs Donald B Marron Raymond Learsy BRAZIL Diana Widmaier Picasso Andrea and José Olympio Pereira Sir John Richardson Mrs Lilly Safra Alejandro Santo Domingo Paulo A W Vieira Norah and Norman Stone John J Studzinski CBE CANADA Mrs Marjorie Susman Anonymous (2) The Hon Robert H Tuttle and Carol and David Appel Mrs Maria Hummer Tuttle Ms Ydessa Hendeles Angela Westwater and David Meitus Mark McCain and Caro MacDonald Christen and Derek Wilson Laura Rapp and Jay Smith Michael Zilkha Robert Rennie and Carey Fouks The Hon Hilary M Weston VENEZUELA Tiqui Atencio Demirdjian and UNITED STATES Ago Demirdjian Anonymous (3) Gabrielle Bacon Mrs Maria Baibakova and Mr Adrien Faure Anne H Bass Nicolas Berggruen Frances Bowes The Broad Art Foundation Trudy and Paul Cejas Richard Chang Mr Douglas S Cramer and Mr Hubert S Bush III Julia W Dayton Barney A Ebsworth Stefan Edlis and Gael Neeson Carla Emil and Rich Silverstein Mrs Doris Fisher Mrs Wendy Fisher Dr Kira Flanzraich INTERNATIONAL Amanda and Glenn Fuhrman Mimi and Peter Haas Fund Andy and Christine Hall COUNCIL Mrs Susan Hayden Marlene Hess and James D Zirin Pamela J Joyner C Richard and Pamela Kramlich NORTH AND SOUTH The Lauder Foundation – AMERICAN MEMBERS Leonard & Judy Lauder Fund

30 31 $10,000–$24,999 Elisabeth and Panos Karpidas DONORS Anonymous (1) Ulvi Kasimov Monica and Robert Aguirre Christian Keesee Donations received between January 1 2016 and December 31 2016 Dilyare Allakhverdova Maria and Peter Kellner Jacqueline Appel and Alexander Malmaeus Yung Hee Kim $100,000+ $25,000–$49,999 Mandy Karen Cawthorn Argenio Jack Kirkland Anonymous (1) Anonymous (1) Maya Awal David Knaus Baratta Family Fund of the Bank of America José Alcantara Cynthia Lewis Beck The Lauder Foundation – Leonard & Judy Charitable Gift Fund Artworker’s Retirement Society Carolin Becker Lauder Fund Jeanne Donovan Fisher Luis Benshimol Frederick H Bedford Jr and Margaret The Honorable Marc and Mrs Leland The Fisher Family Laurel and Paul Britton S Bedford Charitable Foundation Arthur Levine Foundation Lydia and Manfred Gorvy Trudy and Paul Cejas Dorothy Berwin and Dominique Lévy James Lindon Pamela J Joyner and Alfred J Giuffrida The Hon Robert H Tuttle and Celia Birbragher José Luis Lorenzo The Henry Luce Foundation Mrs Maria Hummer Tuttle David Birnbaum Fatima and Eskander Maleki Eyal Ofer Family Foundation Tiqui Atencio Demirdjian and Ago Demirdjian The Blessing Way Foundation Rebecca Marks Helen O and Charles R Schwab George Economou The Broad Art Foundation Mathias Family Foundation John J Studzinski, CBE Wendy Fisher Michael Corman and Kevin Fink Felipe and Denise Nahas Mattar Juan Carlos Verme Dr. Kira and Neil Flanzraich, in honor of Mr Douglas Cramer and The Mead Family Fund Anthony D’Offay and the Artists Rooms Mr Hubert S Bush III Jeff Menashe $50,000–$99,999 Ella Fontanals Cisneros Anne Dias Stavros Merjos Carol and David Appel The Forman Family Foundation James E Diner Gregory R Miller Abigail and Joseph Baratta Amy Gold Barney Ebsworth Sir Michael Moritz and Harriet Heyman The Daniel and Estrellita Brodsky Marian Goodman Gallery Edlis Neeson Foundation Jenny Mullen Family Foundation Noam Gottesman Shirely Elghanian Nancy Nasher and David Haemisegger The Butters Foundation Agnes Gund Carla Emil and Rich Silverstein Shulamit Nazarian Mr and Mrs Nicolas Cattelain Hauser & Wirth Nikki Fennell Veronica Nutting James Chanos Joel and Sherry Mallin Marta Regina Fernandez Holman Victoria and Isaac Oberfeld Dr. Kira and Neil Flanzraich Robert Manoukian Mrs Doris Fisher The José Olympio Pereira Charitable Fund Amanda and Glenn Fuhrman Liza Mauer and Andrew Sheiner Diane Frankel DC Pathak Family Charitable Fund Dominique Lévy Nancy McCain The Philip and Irene Toll Gage Foundation Esther Perez Seinjet John and Patty McEnroe Foundation and Massimo Marcucci Catherine Petitgas Lillian and Billy Mauer Tobias Meyer & Mark Fletcher Amy and John Phelan Hala and Sami Mnaymneh Rachelli Mishori and Leon Koffler Jill Garcia Claudio Porcel Laura Rapp and Jay Smith Nadir and Shabin Mohamed Foundation Lisa and Brian Garrison Thibault Poutrel Rolls Royce Motor Cars NA Oscar de la Renta LLC Nina and Dan Gross Kristen Rey Komal Shah and Gaurav Garg Omer Ozyurek Andrew and Christine Hall Neil and Susan Rector Fund for the The Donald R Sobey Family Foundation Erica Roberts Andrew J and Christine C Hall Foundation Columbus Foundation Marjorie and Louis Susman Keith and Kathy Sachs Sanford Heller in honor of Frances Reynolds Ambassador and Mrs Robert Tuttle Donald R Sobey Sir Nicholas Serota Alin Ryan Lobo The Clarence Westbury Foundation Reginald Van Lee Barbara Hemmerle-Gollust Catalina Saieh Guzmán Angela K Westwater Foundation Hess Foundation Lilly Scarpetta Christen and Derek Wilson Carola Hinojosa Dasha Shenkman OBE Michael G and Jane Wilson Julian Iragorri Jon and Mary Shirley Foundation Juan Yarur Torres Anne-Marie and Geoffrey Isaac The Fran and Ray Stark Foundation David Zwirner Gallery Nicole Junkermann Camila Sol de Pool

32 33 David Solo $1,000–$4,999 UNDER $1,000 Beth Swofford Carolyn Alexander Arlene and John Dayton The Hans Thurnauer Charitable The Edward Arionwitsch Foundation Flank Remainder Trust and Audrey Wallrock Theresa Luisotti Dr Diane Vachon Belgravia Foundation Deborah Norton Tania and Arnoldo Wald Jill and Jay Bernstein Peter Warwick Jill and Jay Bernstein Family Foundation WORKS OF ART DONORS Anita and Poju Zabludowicz Daphne and Robert Bransten Anonymous (1) Leyli Zohrenejad Broad Art Foundation The Easton Foundation Teresita Soriano Zucker Elizabeth and Anthony Enders The Glenstone Foundation Amy Faulconer David Knaus $5,000–$9,999 Emily Bishop Flowers Osiris Anonymous (1) The Fullgraf Foundation Andrea Rosen Anne and James Bodnar Robert Galstain Sara Jane Roszak Elena Bowes Maggie and David Gordon Lenore G Tawney Foundation Deborah Loeb Brice Foundation Richard S Hamilton David and Maria Wilkinson Paula Cooper Catherine Hansberry Jane and Michael Wilson Cowles Charitable Trust Thomas Hartland-Mackie Michel David-Weill Foundation Susan Huang The James Dinan Family Foundation Maxine Isaacs Füsun Eczacibaşi Monica Kalpakian Richard Edwards Linda Lakhdhir David Kordansky Gallery Raymond Learsy Mr and Mrs C Richard Kramlich The David M Leuschen Charitable kurimanzuto Foundation in Honor of Abigail Mr and Mrs Donald B Marron and Joseph Baratta David Meitus Melanie and David Niemiec The New York Community Trust AB/Avi Reine Okuliar and Maya Lavi Fund Veronique Parke Nightingale Code Foundation Donna Redel, National Philanthropic Trust Elisa Nuyten and David Dime Tania and Arnoldo Wald Sydney Picasso Daniel and Ellen Shapiro Tommy Rom James + Chantal Sheridan Foundation Ralph Segreti Drs Ben & A. Jess Shenson DA Fund, Marc Selwyn in honor of Pamela Joyner and Jack Shainman Gallery Fred Giuffrida Sicardi Gallery Kimberly and Tord Stallvik John Silberman Mr and Mrs Stephen L Waterhouse Fund Michael Tiedemann Angela K Westwater Mary Zlot

34 35 1 Pedro Mota, Jeanne Donvan Fisher 1 3 4 and Sir Nicholas Serota

2 Theaster Gates and Laurel Britton

3 Christen Wilson

4 Jessica Craig Martin, Nan Goldin, Bruce and Helen Marden

5 Fernando Bryce, David Zink Yi and Esther Kläs

6 Tiqui Atencio Demirdjian and Adriana Santiago

7 Estrellita and Daniel Brodsky

8 Pamela Joyner and Sam Gilliam

5 6

2 7 8

EVENTS

36 37 1 Frances Morris, Dominique Lévy 1 4 5 and Dorothy Berwin

2 Jeanne Donovan Fisher and Carrie Mae Weems

3 Komal Shah and Peter Copping

4 Oliver Barker and Lorna Simpson

5 Angela Choon and Kerry James Marshall

6 Sebastian Errazuriz, Juan Yarur Torres and Nan Goldin

7 Members of the North American Acquisitions Committee at the 6 2016 Artists Dinner

7

2 3

38 39 CONTRIBUTION WORKS OF ART CATEGORIES Support is welcomed from collectors who wish to strengthen Tate’s collection Tate Americas Foundation welcomes by making outright or fractional gifts in gifts from individuals, foundations and works of art. Please contact us, in the first corporations who wish to contribute instance, to allow us to confirm that Tate is towards the success of Europe’s leading able to accept your gift. art institution. Support may be given for general projects or directed towards specific ones (including scholarship, exhibitions, capital projects, international PLANNED GIVING programs or the endowment). OPPORTUNITIES

For further information on bequests, MEMBERSHIP life income plans (in exchange for cash, marketable securities or other assets – Support may be made on an annual basis, including works of art), or making a gift to one of three membership schemes: by credit card, wire transfer, shares and stocks, please contact: $1,000 Patron Richard Hamilton Director $15,000 Tate Americas Foundation North American Acquisitions Committee 520 West 27 Street Unit#404 New York, NY 10001 $15,000 Tel: 212 643 2818 Latin American Acquisitions Committee Fax: 212 643 1001 Email: [email protected] Visit: tateamericas.org

Please contact us or visit guidestar.org if you wish to see IRS Form 990.

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