Tate Report 2011–12
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Tate Report 11–12 Tate Tate Report 11 – 12 63108_Tate_COVERS-03.09.12.indd 1 06/09/2012 18:21 Gerhard Richter’s 11 Panes [11 Scheiben] 2003 in his exhibition at Tate Modern 63108_Tate_COVERS-03.09.12.indd 2 03/09/2012 23:35 Contents Introduction 02 Collection Developing the collection 10 Caring for the collection 12 Research 14 Acquisition highlights 17 Programme Tate Britain 38 Tate Modern 40 Tate Liverpool 42 Tate St Ives 44 Programme calendar 46 Audiences Engaging audiences 48 Online and media 52 Partnerships across the nation 54 International partnerships 58 Improving Tate People and our environment 60 Funding and trading 62 Building for the future 64 Financial review 66 This report is also available to download inTacita PDF Dean’s and large-print commission versionsfor the Unilever – visit Series, Donations, gifts, legacies and www.tate.org.uk/tatereportFILM, in the Turbine Hall at Tate Modern sponsorships 68 63108_Tate_TEXT-03.09.12.indd 1 04/09/2012 03:19 Introduction Each month, a total of 34,000 people from between values and ideas, artists and around the world use turbinegeneration, movements. Tate opens up that conversation the online learning space created by Tate to as many people as possible. This spirit with the support of Unilever. They represent underpins all of Tate’s activities, from 47 countries and include learners, gallery staff publishing to research. It is the responsibility and teachers, young and old, all questioning, that comes with building and protecting the inquiring and creative. They are part of a nation’s collection and giving as many as community that explores artists’ ideas. They possible the chance to experience it. talk to each other, exchange perspectives and come together to create new ideas for We promote the enjoyment and themselves. understanding of art by lending work. We do it by hosting exhibitions from around the turbinegeneration is just one taste of how world: this year, for example, our exhibition Tate is changing to become an art museum of Joan Miró was organised jointly with the for the twenty-first century. The programme Fundació Joan Miró in Barcelona and the combines learning, community, openness, National Gallery of Art in Washington. We collaboration, expertise and creativity. work with learners, encouraging people to These principles are all evident in the newly continue their relationship with art, and relaunched Tate website. They are also equally maybe one day to create art that will join the present in the art that Tate continues to collect collection: this year we have developed new and care for on behalf of the nation, ensuring learning programmes at all four Tate sites that it is accessible today and will remain so with the Paul Hamlyn Foundation. We also do for future generations. it by exploring what art can mean in society, championing art and artists in public debate. Tate’s mission, defined by statute, is to Over the coming years, we will do this more, ‘promote the public understanding and reaching different ears and audiences. enjoyment of British, modern and contemporary art’. It is service to the public My fellow Trustees and I are proud to work that drives Tate and those who work here. with those working at Tate as they achieve It is the single most important principle to continued success. Now opened, the Tanks at which my fellow Trustees and I hold the Tate Modern will enable us more effectively to organisation to account and for which we reflect the changes in artistic production that are ourselves accountable. we are seeing around the world, particularly performance and live art. The Tanks also This sense of public service builds from the represent the evolution of the way in which belief that art is an ongoing conversation Tate works. Numerous donors have come 63108_Tate_TEXT-03.09.12.indd 2 04/09/2012 02:56 The Tate Movie Project screened in Trafalgar Square 3 63108_Tate_TEXT-03.09.12.indd 3 04/09/2012 02:56 Introduction together and, through their generosity, have works, piloting apprenticeships and building helped Tate realise the longstanding ambition partnerships that range from universities of opening spaces that will allow us to present to health trusts, putting learning at the heart performance as well as visual art. of the programmes. There have been developments across all of All four galleries house research centres, Tate’s galleries. With funds successfully raised, ranging from Revisiting Modernism at Tate the Tate Britain Millbank Project will see the Liverpool, to The Sublime Object: Nature, Art renovation of the public spaces, restoring to and Language at Tate Britain. Each generates Tate’s audiences rooms that have not been further knowledge about areas as diverse as publicly accessible since the Thames flood the arts and health, and – through a project of 1928. It will also enable Tate to represent funded by the Department for Business, the full richness of its collection of British Innovation and Skills – the science and art, from Holbein and Hilliard to Hirst and technology of collection care. Research is Hamilton. Heritage is the culture of the past, an integral part of what Tate contributes to and through our creative response to it, we society. It furthers knowledge of the collection create the culture of the present, which in and the artists represented, and it helps turn will become the heritage of the future. connect them to new areas in new ways. That cycle will be visible on the walls of the In itself, it is part of caring for the collection, newly reopened Tate Britain from 2013. maintaining its relevance and opening new knowledge about it. Tate St Ives Phase II has also progressed apace this year. Plans have been announced That care, of course, also depends upon the that will create new galleries in which to show expertise with which Tate’s staff handle and more of Tate’s collection and particularly, look after the collection. This year, we have of course, the work of the St Ives artists, developed our facilities, adding a new cold- whose legacy Tate preserves. Alex Katz, the store unit to ensure that we can preserve summer exhibition this year, is an example our growing holdings of film. At the same of how the programme at Tate St Ives will time, we have continued to give the best bring major figures in contemporary art to possible care to works, from the restoration Cornwall. Meanwhile, successful shows like of flood damage to John Martin’s Destruction René Magritte: The Pleasure Principle have of Pompeii and Herculaneum, to the multiple confirmed Tate Liverpool as a gallery with challenges of caring for Mike Nelson’s Coral international impact, rooted in the north Reef, a work made up of no fewer than 759 west. Moreover, Tate Liverpool is also at the objects, all of different materials requiring forefront of developing how the organisation different kinds of care. 63108_Tate_TEXT-03.09.12.indd 4 04/09/2012 02:56 A wall drawing by Michael Craig-Martin and a sculpture by Jeff Koons at Tate Liverpool 5 63108_Tate_TEXT-03.09.12.indd 5 04/09/2012 02:57 Introduction Yayoi Kusama’s Infinity Mirrored Room – Filled 6 with the Brilliance of Life 2011 at Tate Modern 63108_Tate_TEXT-03.09.12.indd 6 04/09/2012 02:57 Collection Care is also a good example of around the world and experience the different how each department contributes to the viewpoints that it represents. organisation’s success. In testing and trialling new packing cases built of more renewable The success described in this report is all the timber, it has turned Tate’s concern for more remarkable when seen in the light of sustainability into practice. Collection Care the economic difficulties that the UK faces. We is a vital part of our international work, are enormously grateful to all our supporters, hosting twenty overseas colleagues, from donors and members for their continued trainees to established professionals. generosity. Their commitment is testimony International partnerships like this are to the cause that Tate represents: championing integral to Tate’s mission. They help us reach the importance of the visual arts. Alongside new audiences for the collection. This year, the understanding that the arts provide, it is for instance, we have toured works to important not to underestimate the enjoyment destinations as far apart as Moscow and that they give, especially in difficult times. Buenos Aires. We also laid the foundations People come to Tate because they value what for a tour of Turner: The Makings of a Master it stands for and the experience that it has to to Australia and Japan, a project that will offer. From the unique products in our shops, broaden knowledge of Turner and Tate and to the coffee in our cafés, the whole of Tate play a significant role in representing the UK’s comes together to encourage people to heritage and art overseas as well. connect with the art it holds and shows. Like our international work, our work in the UK, Tate’s continued success also depends on through programmes like Plus Tate and ARTIST its staff. My fellow Trustees and I are proud ROOMS, is built on partnerships. As much as to represent and lead such a committed, the collection, Tate’s expertise belongs to the talented and enthusiastic workforce. Part of nation and we are committed to sharing it. our responsibility to Tate is to ensure that its Doing so gives us an opportunity to learn, be staff is not only rewarded, but also recognised it through the work we have done with a small, as being an integral part of the gallery and community-based organisation like Grizedale what it represents.