Annual Report 2019 1 Cover Image

TATE AMERICAS FOUNDATION ANNUAL REPORT 2019 1 COVER IMAGE

HELEN FRANKENTHALER Vessel 1961 Oil paint on canvas 2540 x 2390 mm Presented by the Helen Frankenthaler Foundation (Tate Americas Foundation) 2019 © 2020 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York

4 TRUSTEES

6 INTRODUCTION

8 ART ACQUISITIONS

26 COMMITTEES

28 INTERNATIONAL COUNCIL

30 DONORS CONTENTS 34 CONTRIBUTION CATEGORIES

2 3 TRUSTEES

Pamela Joyner (Chair through March 2020) Abigail Baratta Eugenia Braniff Paul Britton (Chair beginning May 2020) Estrellita Brodsky Wendy Fisher Glenn Fuhrman Bob Rennie (President beginning May 2020) Jay Rivlin Komal Shah Kim Shirley Jay Smith John 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 (Head of Development) Meredith Gerrick (Finance and Operations)

TRUSTEES

4 5 It is a great pleasure to present the 2019 Annual Report of the Tate Americas Foundation. This is a bittersweet report for me, as the Foundation has experienced great successes but it will be my last report as Chair of the Tate Americas Foundation. I joined the Board in 2015, was elected Chair in 2017 and it has been an absolute honor to serve this dynamic organization during these past two years. I am proud of the growth we have achieved and look forward to continuing to champion Tate as a Tate Americas Foundation Trustee.

Paul Britton was elected Chair of the Board and Bob Rennie was elected President beginning May 2020 and both will be tremendous leaders for the Tate Americas Foundation and Tate. We are also fortunate to have welcomed four new trustees to the Board in 2019 --- Abigail Baratta, Eugenia Braniff, Wendy Fisher, and Kim Shirley. Each of these women is a dedicated advocate of art and will contribute brilliantly to Tate. These four new trustees further enhance our dedicated Board whose passion and intelligence made my job so easy and enjoyable throughout the years: Estrellita Brodsky, Glenn Fuhrman, Jay Rivlin, Jay Smith, John Studzinski CBE, Tiqui Atencio Demirdjian, Gregory Miller, Erica Roberts, Christen Wilson.

Tate Director Maria Balshaw has set a bold and meaningful path forward for Tate, expanding transnational art and reminding us that that a global collection and global curatorial expertise makes a stronger Tate. Balshaw has tackled the climate crisis head on, making a pledge to cut Tate’s carbon footprint by at least 10 percent in the next three years. All the while she has made certain Tate embraces bold, adventurous programming at each site. This past year alone, Tate has led the artworld with important exhibitions featuring artists from North and Latin American including Tania Brugera and Kara Walker at Tate Modern, Frank Bowling at Tate Britain, Sol Calero and Keith Haring at Tate Liverpool, and Vivian Suter and Theaster Gates at Tate Liverpool.

The Tate Americas Foundation produced a number of educational and exciting travel programs exploring art in Bogota, Miami, New York, San Francisco, Seattle, and Vancouver. It hosted another unforgettable Artists Dinner gala at the studio of Lorna Simpson, this year honoring five brilliant women artists all with works currently or soon to be displayed at Tate: Aliza Nisenbaum, Lorna Simpson, Sarah Sze, Cecilia Vicuna, and Anicka Yi. On top of this, the Tate Americas Foundation received $16.9 million in gifts and art. Through grants to Tate, we were able to provide crucial support to a number of projects including major acquisitions of art, groundbreaking exhibitions such as Steve McQueen and Frank Bowling, and transformational capital programs.

Ultimately though all this bold programming and institutional support is only made possible through the continued support of our wonderful patrons. Thank you to all the dedicated Board members, Committee members, patrons, and donors that have continued to support the Tate Americas Foundation. Through your combined efforts we have increased our programming, increased our reach, and increased our ability to provide support for Tate and continue to make it such an important museum special institution. Thank you so much for all your generosity and dedication. We are truly grateful.

Pamela Joyner INTRODUCTION Chair, Tate Americas Foundation

6 7 ART VIVIAN SUTER Nisyros (Vivian’s Bed) 2016-17 Lent by the Tate Americas Foundation, courtesy of the International Council and the Latin American Acquisitions ACQUISITIONS Committee 2019

8 9 HELEN FRANKENTHALER

Helen Frankenthaler (1928−2011) has long been recognized as one of the most important American artists of the twentieth century. Through the development of her ‘soak-stain’ technique in the early 1950s – whereby she poured thin paint onto raw, unprimed canvas laid directly on the floor – she played a pivotal role in the transition from abstract expressionism to colour field painting. Frankenthaler has received countless exhibitions and her work is held in major collections worldwide.

Vessel is a large-scale oil painting on canvas produced by the artist in 1961. Executed using her signature ‘soak-stain’ technique, it depicts a mass of abstract forms in shades of blue, burgundy and ochre which sit in the centre of an empty white canvas. Many of these forms are surrounded by an oil-stain ‘halo’ – caused by diluted oil paint bleeding out from areas of applied pigment. The artist then used a paint brush to add detail to the composition, with translucent washes of colour and splattering in the bottom right-hand corner. Vessel was first shown at André Emmerich Gallery in New York in 1961 and later included in the artist’s 1969 retrospective, which began at the Whitney Museum of American Art, New York and travelled to the Whitechapel Gallery, London, the Orangerie Herrenhausen, Hanover and the Kongresshalle, Berlin.

Whilst Vessel demonstrates Frankenthaler’s accomplished technique and interest in compositional interplay, it also evidences the rich artistic circle within which she worked. In particular, it suggests an affinity with sculptor David Smith (1906–1965), with whom Frankenthaler held a close friendship following her introduction through Clement Greenberg in 1950. Evoking Smith’s sculpture in what Elderfield terms its ‘frontality, planarity, and implied transparency’, as well as its solid grounding in space at the centre of a white space, Vessel demonstrates the artists’ shared conception of pictorial space.

Hannah Johnston and Mark Godfrey August 2019

10 11 SAM GILLIAM

Carousel Change 1970 by Sam Gilliam (born 1933) is a suspended painting produced in Washington D.C. in 1970. Fabricated from cotton canvas saturated with acrylic paint, it is – in its current configuration which has been approved by the artist’s studio – displayed against a wall, suspended from five points at which the fabric is gathered with a leather string so that the material drapes and falls in flowing forms, extending down the length of the wall almost to meet the floor. Produced with a palette of bright and vibrant colours, including reds, yellows, blues and greens, Carousel Change is painted with a pattern of fluid abstract forms.

Viewed by the artist as a way of exploring form and composition, the casting aside of the canvas stretcher bars transforms works such as Carousel Change from paintings into sculptural objects. Hung on the wall using leather string rather than wire or metal fixings, the canvas is celebrated as a material in its own right. No longer simply a vehicle for the paint, it is an integral part of the work as a whole and a meaningful contributor to its aesthetic and impact.

Envisaged as dynamic objects, the drape paintings must be reimagined each time they are installed. Hung in different arrangements against the wall and from the ceiling, or draped across architectural elements, they are characterised by chance, uncertainty and flux. Continuously open to reinterpretation, they are, in essence, performative objects; staged anew each time they are installed with an understanding that each configuration is only one of a range of possibilities. Attributed the enigmatic titleCarousel Change – a reference, perhaps, to the circular movement and rhythm of a carousel, or the folds of brightly coloured cloth that animate its canopy as it makes its rotations – this work bridges the gap between painting, installation and performance.

Hannah Johnston March 2013; updated May 2018

SAM GILLIAM Carousel Change 1970 Acrylic paint on canvas and leather string 3000 x 23370 mm Presented by Pamela J. Joyner and Alfred J. Giuffrida (Tate Americas Foundation) 2018

12 13 DUANE LINKLATER

Duane Linklater (born 1976) is an Omaskêko Cree artist whose practice examines museum structures from a critical and material standpoint, drawing these frameworks into dialogue with the conditions of indigenous communities and their approaches to materials. He articulates these considerations through sculpture, video, photography and text, as well as through his discursive work with the Wood Land School. The Wood Land School is a nomadic project that centres indigenous positions and forms in the institutional spaces that it temporarily inhabits, including large-scale art organisations such as Documenta. The project was initiated by Linklater together with artist and choreographer Tanya Lukin Linklater and curator cheyanne turions.

Speculative apparatus for the work of nohkompan and nikosis 2016 is an installation comprising ten concrete and stainless steel armatures, eight of which are designed to serve as support structures for artworks made by the artist’s paternal grandmother – Ethel Linklater (1932–2004), a trapper and craftsperson whose Cree name transliterates to ‘nohkompan’, as referenced in the installation’s title – and the artist’s son – Tobias Linklater (born 2004), whose Cree name transliterates to ‘nikosis’, also referenced in the title. The remaining two stands serve to display two additional ready-made items that are purchased prior to each display of the installation. The title deliberately appears in sentence case without capitalising its two proper nouns to register the artists’ unease around the Cree language being written in Standard Roman Orthography. The five artworks made by Ethel Linklater are owned by the Thunder Bay Art Gallery in Ontario, Canada, and must be borrowed for each display of the work.

The installation not only structures a relationship between objects and generations but also between institutions, as Ethel Linklater’s works remain in the collection of the Thunder Bay Art Gallery – the closest collecting art gallery to the community in which they were made. This to date unique model of an acquisition dependent on a loan of work that is to remain in its native province addresses highly pertinent questions of ownership in a moment in which debates around repatriation are changing museum collections and collecting strategies. These questions elaborate central concerns and considerations within Linklater’s practice, which explores museum framework and structures in relation to the conditions and materials of Indigenous communities.

Carly Whitefield March 2019

DUANE LINKLATER Speculative apparatus for the work of nohkompan and nikosis 2016 Concrete, stainless steel, tape, tobacco, flowers, video, high definition, flat screen, computer case, sound (mono) 2 minutes 43 seconds Display dimensions variable Lent by the Tate Americas Foundation, courtesy of the North American Acquisitions Committee 2019

14 15 ANTONIO PICHILLÁ

Antonio Pichillá (born 1982) is an artist of Maya-Tzùtujil descent, one of the twenty-one Maya ethnic groups in present-day Guatemala. He earned his BFA from the Rafael Rodríguez Padilla Art School in Guatemala City (founded in 1920) and works from San Pedro la Laguna, a gravitational center for Maya- Tzùtujil culture, located off the shores of the Lake Atitlán, considered a sacred site in Mayan cosmovision given its location at the top of a dormant volcano. Pichillá’s work belongs to a generation of artists in Guatemala who, in the past decade, have vindicated indigenous biography, knowledge, language, heritage and traditions that were, and still continue to be, systematically repressed, hidden and shamed for centuries under various waves of colonialism and violence. His work stems from an investigation into the semiotics of the chromatic universe of Maya-Tzùtujil context and narratives. His dedication and persistence in researching colour have inclined towards the use of textiles, exploring ways to further abstract the already abstract patterns of Maya-Tzùtujil traditional male attire and persistently working with the multiplicity of colours (yellow, red, black, white) found in corn – a produce identifying Amerindian civilisation and present-day indigenous struggles within a Monzanto globalisation of free trade.

In Kukulkan 2017, a multi-colour fabric appears folded in a zig-zag form, cutting through the area of a canvas with a black-dotted stripe on a bright yellow background. The abstract pattern of these stripes is a quotation to the design of traditional white-cloth trousers with black stripes worn by Maya-Tzùtujil senior men in San Pedro la Laguna, the artists’ birthplace. In Grandfather (Abuelo) 2017 the traditional male attire worn by Maya-Tzùtujil men is also referenced. In this case, the background of the piece follows the original colour code and the black on white abstract pattern found in the indigenous traditional trousers. In Grandmother (Abuela) 2018, black and grey threads prepared in the sophisticated ancestral ikat technique have been left unwoven and gently stretched around fixings on the bright yellow surface of the canvas. The composition created by these lines resemble a constellation, a kind of mass of time. The web of thread culminates in tropical seed, left hanging, which is commonly used by Maya-Tzùtujil women as a tool in the weaving process. Camino (Pathway) 2018 holds the most complex weaving process out of all pieces. The geometric interlace is made with woven sashes, made by the artist, referencing the sashes worn by Maya-Tzùtujil women in San Pedro de La Laguna, Guatemala.

Inti Guerrero October 2019

ANTONIO PICHILLÁ

Kukulkan 2017 Grandmother 2018 Synthetic cotton Abuela 1200 x 400 x 250 mm Thread, wood, dried seeds, oil paint on canvas 1200 x 800 x 70 mm Grandfather 2017 Abuelo Pathway 2018 Ikat textile, thread, needles Camino 1200 x 800 mm Synthetic cotton and agave thread 1200 x 800 mm

Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee using funds provided by Marta Regina Fernandez-Holmann 2019

16 17 VIVIAN SUTER

Born in Buenos Aires in 1949, Vivian Suter graduated from Kunstgewerbeschule Basel, Switzerland in 1972. Suter gained international prominence through her participation in the São Paulo Biennale in 2014. Her work has since been featured at Documenta 14 (2017) and in a solo exhibition at The Art Institute of Chicago (2018) and she appeared in Rosalind Nashashibi’s filmVivian’s Garden 2017 (acquired by Tate in 2018) which depicts the relationship between Suter and her mother, artist Elisabeth Wild (born 1922), with whom she lives.

Nisyros (Vivian’s Bed) 2016–17 comprises fifty-three large-scale gestural, brightly hued abstract oil paintings on untreated, unstretched canvas as a single installation or environment. The work was made in the village of Panajachel, in the volcanic mountains of southwestern Guatemala, where Suter has been based since 1982. Her studio is located in the grounds of a former coffee plantation overlooking the Lake Atitlán. The nature of this specific geographic situation has played an integral part in Suter’s painting over the past three decades, both in terms of informing the artist’s thinking and her mark-making, and in the way in which nature is physically embedded in the surfaces of the canvases: explicit in the volcanics, earth, botanical matter, and micro-organisms to which the work’s medium lines refers.

In 2010 Suter’s studio was struck by a severe tropical storm which caused flooding and damage to her works. She subsequently decided to purposefully leave her canvases outdoors, allowing nature to become an active agent in the work’s making. Nisyros (Vivian’s Bed) is representative of her work since this defining shift in her approach to painting. Suter uses rainwater to wet her pigments and oils, as well as allowing mud to find its way onto the canvases. The untreated canvases in works such asNisyros (Vivian’s Bed) are ultrasensitive surfaces; they are records not just of what is seen but also of the passage of time, of the traces of daily activity in the rainforest, a register of the environmental conditions in which they were made.

The work was first exhibited during Documenta 14 in Kassel in 2017, where it filled the front windows of the Glass Pavilion on Kurt-Schumacher Strasse. A part of the title – Vivian’s Bed – alludes to the configuration in which the work was shown in Kassel, with a bed occupying the middle of the installation, and two unstretched canvases acting as a bedsheet on it and a rug beneath it. It can be displayed in a number of configurations that allow it to be adapted to a variety of display spaces.

Isabella Maidment December 2018

VIVIAN SUTER Nisyros (Vivian’s Bed) 2016–17 Oil paint, pigment and fish glue on canvas and paper, volcanics, earth, botanical matter, micro-organisms and wood Overall dimensions 3300 x 4850 x 4850 mm Display dimensions variable Lent by the Tate Americas Foundation, courtesy of the International Council and Latin American Acquisitions Committee 2019 Photo © Tate, Joe Humphrys

18 19 WU TSANG

Wu Tsang (born 1982) is an artist working in performance, installation and moving image. Her work strives to create new visual and conceptual vocabularies for race and gender identities, marginalised narratives and the act of performing itself. She fluidly combines documentary and fiction with magic realist elements to capture emotional truths in individuals’ and communities’ stories and examine their potential for cultural resistance. Her work is highly collaborative in nature and often serves as a platform for multiple voices within queer and trans communities to come together.

A day in the life of bliss 2014 is an immersive video installation in which three synchronised projections relay a twenty-minute narrative blending fiction and documentary portraiture with elements of science fiction and magic realism. The first video relays the story itself, which is set in the near future and follows Blis, a celebrity by day and underground performer by night, from the moment of waking up in the morn- ing to the moment of returning to bed in the evening. The second video primarily features boychild, the artist and performer who plays the role of Blis, responding to the character’s emotions through highly visceral and expressive choreography. The third video is vertically oriented to suggest a mobile phone display and presents text messages sent between the story’s characters. The first two videos are duplicat- ed in the space through the use of two mirrors – one regular and one two-way – creating the appearance of five projections. Black beanbag chairs provide informal seating in the centre of the installation. The work was co-written by Wu Tsang and Alexandro Segade and edited by Augie Robles.

Working across performance, installation and moving image, Tsang takes a fluid approach to artmaking that often draws in elements of activism and community organising. In A day in the life of bliss she looks to the magic realist element of the character’s superpower to highlight and reverse power imbalances. The work also responds to the dramatic way in which underground cultures were changing at the moment in which it was made, mediated by mobile phones and migrating away from a fixed, physical convening. Made before social media platforms such as Facebook and Instagram launched their live feed features, A day in the life of bliss is a prescient work, underscoring how social media platforms can be used against citizens, as well as the growing phenomenon of moving between double or multiple identities in the physical and virtual world.

Carly Whitefield March 2019

WU TSANG A day in the life of bliss 2014 Video, high definition, 3 projections, colour, sound (stereo), mirrors, beanbags 20 minutes 25 seconds Number 4 in an edition of 5 plus 2 artist’s proofs Lent by the Tate Americas Foundation, courtesy of the North American Acquisitions Committee 2019

20 21 LATIN AMERICAN ART ACQUISITIONS

JOHANNA CALLE ANTONIO PICHILLÁ MARCIA SCHVARTZ VIVIAN SUTER Perspectives 2006–8 Kukulkan 2017 Talk 1978 Nisyros (Vivian’s Bed) 2016–17 Perspectivas Synthetic cotton Plática Oil paint, pigment and fish glue on canvas and 10 manipulated metal wire objects 1200 x 400 x 250 mm Graphite on paper paper, volcanics, earth, botanical matter, micro- Various dimensions 510 x 655 mm organisms and wood Lent by the Tate Americas Foundation, courtesy of Grandfather 2017 Overall dimensions 3300 x 4850 x 4850 mm the Latin American Acquisitions Committee 2019 Abuelo The Feminist and the Lady 1978 Display dimensions variable Ikat textile, thread, needles La feminista y la señora Lent by the Tate Americas Foundation, courtesy ______1200 x 800 mm Graphite on paper of the International Council and Latin American 500 x 600 mm Acquisitions Committee 2019 Grandmother 2018 ALFREDO JAAR Abuela Plaza Real 1979 September 11, 1973 (Coke) 1982, printed 2019 Thread, wood, dried seeds, oil paint on canvas Graphite on paper Six pigment prints mounted on board 1200 x 800 x 70 mm 500 x 655 mm Overall dimensions 1612 x 1980 mm Number 3 in an edition of 3 Pathway 2018 To Luis 1979 Lent by the Tate Americas Foundation, courtesy of Camino A Luis the Latin American Acquisitions Committee 2019 Synthetic cotton and agave thread Graphite on paper 1200 x 800 mm 730 x 910 mm ______Lent by the Tate Americas Foundation, courtesy Saturday 2004 of the Latin American Acquisitions Committee Sábado LILIANA MARESCA using funds provided by Marta Regina Oil paint and plastic on canvas photographs by MARCOS LOPEZ Fernandez-Holmann 2019 1400 x 1900 mm

Untitled (Liliana Maresca with her Artworks) 1983, Lent by the Tate Americas Foundation, courtesy of printed c.1983 the Latin American Acquisitions Committee 2019 Photograph, gelatin silver print on paper 106 x 165 mm Tabernero 2004 Barkeeper Untitled (Liliana Maresca with her Artworks) 1983, Charcoal and mixed media on hemp printed c.1983 1400 x 2200 mm Photograph, gelatin silver print on paper Lent by the Tate Americas Foundation, courtesy 215 x 150 mm of the Latin American Acquisitions Committee using funds provided by Tiqui Atencio Demirdjian Untitled (Liliana Maresca with her Artworks) 1983, and Ago Demirdjian 2019 printed c.1983 Photograph, gelatin silver print on paper 225 x 165 mm

Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2019

22 23 NORTH AMERICAN ART ACQUISITIONS GIFTS

LYLE ASHTON HARRIS DUANE LINKLATER WILLIE DOHERTY ZOE LEONARD Constructs 1989 Speculative apparatus for the work of nohkompan Uncovering Evidence That the War is Not Over I 1996 Mouth Open, Teeth Showing 2000 Suite of Four, #10–#13 and nikosis 2016 Photograph, dye destruction print on paper Installation 4 photographs, gelatin silver prints on paper Concrete, stainless steel, tape, tobacco, flowers, mounted on aluminium 162 dolls Each 2083 x 1092 mm video, high definition, flat screen, computer case, 760 x 1015 mm Dimensions Variable Number 1 of 2 artist’s proofs aside from the sound (mono) Presented by the North American Acquisitions edition of 3 2 minutes 43 seconds Uncovering Evidence That the War is Not Over II 1996 Committee (Tate Americas Foundation), and Lent by the Tate Americas Foundation, courtesy of Display dimensions variable Photograph, dye destruction print on paper William and Ruth True, 2019 the North American Acquisitions Committee, Agnes Lent by the Tate Americas Foundation, courtesy of mounted on aluminium Gund Fund, Salon 94, and Suzanne Deal Booth 2019 the North American Acquisitions Committee 2019 760 x 1015 mm ______

______Presented by William and Anne Palmer (Tate Americas Foundation), 2019 ELIZABETH PEYTON Irises and Klara Commerce St 2012 VINCENT FECTEAU CAMERON ROWLAND ______Oil paint on panel Untitled 2018 Assessment 2018 610 x 457 mm Papier mâche, tulle, watercolour pencil, acrylic Late 18th-century English grandfather clock Presented by the Roman Family Collection (Tate paint 749 x 584 x 660 mm acquired from Paul Dalton Plantation, Yemassee, HELEN FRANKENTHALER Americas Foundation) 2019 Lent by the Tate Americas Foundation, courtesy of South Carolina; 1848 tax receipt from Mississippi; Vessel 1961 the North American Acquisitions Committee 2019 1852 tax receipt from Mississippi; 1860 tax Oil paint on canvas receipt from Virginia 2540 x 2390 mm ______2438 x 3302 x 273 mm Presented by the Helen Frankenthaler Foundation Lent by the Tate Americas Foundation, courtesy of (Tate Americas Foundation) 2019 DEANA LAWSON the North American Acquisitions Committee 2019 Baby Sleep 2009 Photograph, inkjet print on paper ______SAM GILLIAM Number 6 in an edition of 6 Carousel Change 1970 635 x 762 mm Acrylic paint on canvas and leather string WU TSANG 3000 x 23370 mm Seagulls in Kitchen 2017 A day in the life of bliss 2014 Presented by Pamela J. Joyner and Alfred J. Photograph, pigment print on paper Video, high definition, 3 projections, colour, Giuffrida (Tate Americas Foundation) 2018 Number 4 in an edition of 4 sound (stereo), mirrors, beanbags 20 minutes 25 1778 x 1397 mm seconds ______Number 4 in an edition of 5 plus 2 artist’s proofs Nation 2018 Lent by the Tate Americas Foundation, courtesy of Pigment print on paper and collaged photograph the North American Acquisitions Committee 2019 EIKOH HOSOE (photographer) and SIMMON Number 1 of 2 artist’s proofs aside from the YOTSUYA (performing artist) edition of 4 1410 x 1708 mm Simmon: A Private Landscape 1971, printed 2012 36 photographs, gelatin silver prints on paper Lent by the Tate Americas Foundation, courtesy of Each 406 x 508 mm or 508 x 406 mm the North American Acquisitions Committee 2019 Presented by Joseph Baio (Tate Americas Foundation) 2019

24 25 LATIN AMERICAN NORTH AMERICAN ACQUISITIONS COMMITTEE ACQUISITIONS COMMITTEE

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

COMMITTEES

26 27 Anne H Bass* Nicolas Berggruen Richard Chang Suzanne Deal Booth Robert Drake Doris Fisher Glenn Fuhrman Noam Gottesman Miriam L Haas Marlene Hess Monica Kalpakian Richard Kramlich Leonard A Lauder Donald Marron* David Meitus Nancy A Nasher Gael Neeson José Olympio Pereira Alejandro A Santo Domingo Kimberly R Shirley Wendy Stark Morrissey Norah* and Norman Stone Christen Wilson

* deceased

INTERNATIONAL COUNCIL

NORTH AND LATIN AMERICAN MEMBERS

28 29 DONORS

Donations received between January 1 and December 31, 2019. $10,000 - $24,999 Hess Philanthropic Fund Anonymous (2) Julian Iragorri $500k+ $25,000 - $49,999 Robert and Monica Aguirre Elizabeth and William Kahane Sikkema Jenkins & Co Jacqueline Appel Dilyara Allakhverdova Patricia Kaneb Kelly John Studzinski CBE Dillon Cohen Tiqui Atencio Demirdjian and Ago Demirdjian Elisabeth and Panos Karpidas Michel David-Weill Foundation Anne H Bass Kahng Foundation $100,000 - $499,999 Marta Regina Fernandez-Holmann Cynthia Lewis Beck Christian Keesee Deborah Loeb Brice Foundation Wendy Fisher Francesca Bellini and Allan Hennings Peter and Maria Kellner The Britton Family Foundation Miles Gerstein Dorothy Berwin Leon Koffler and Rachelli Mishori Lydia and Manfred Gorvy The David Herro Charitable Foundation Celia Birbragher The Samuel H. Kress Foundation Sir Edwin and Lady Manton Fund Institute of International Education David and Kathryn Birnbaum Randall Kroszner Hala and Sami Mnaymneh Nancy Kaneb Soule Alla Broeksmit Aimee Labarrere de Servitje Helen and Charles R Schwab Gregory R Miller Lee and Chrissy Broughton Leonard and Judy Lauder Fund Silvia Paz Illobre and Eduardo Orteu Richard Chang Arthur Levine Foundation $50,000 - $99,999 Fonds de dotation Thibault Poutrel Michael Chesser Dominique Levy Baratta Family Fund Bob Rennie Sir Ronald and Lady Cohen James Lindon Dana & Albert R. Broccoli Foundation Salon 94 Michael Corman and Kevin Fink Alan and Yenn Lo Estrellita and Daniel Brodsky Beth Swofford Simone Coscarelli Parma José Luis Lorenzo Karen Cawthorn Argenio Hans Thurnauer Charitable Lead Trust H.S.H the Prince D’Arenberg Sofia Mariscal and Guillermo Penso Blanco Council for Canadian American Relations Vital Projects Fund in memory of Henry James Diner Mr. and Mrs. Donald B Marron Crankstart Christensen III Edlis-Neeson Foundation Dale P. Mathias The Fuhrman Family Foundation Wagner Foundation Hossein and Dalia Fateh Denise and Felipe Nahas Mattar The Gaudio Family Foundation Mark Fletcher and Tobias Meyer Susan McDonald Agnes Gund Diane B Frankel Michael Jefferson Meagher and Daniel The Keith Haring Foundation Garcia Family Foundation Romualdez Scott and Suling Mead Brian S Garrison and Lisa Guttentag-Garrison Gabriela Mendoza Kimberly R and Jon A Shirley Heloisa Genish Stavros Merjos Jay Smith and Laura Rapp Victoria Gelfand-Magalhães Shabin and Nadir Mohamed The Clarence Westbury Foundation Shari Glazer Veronica Nutting Christen and Derek Wilson Amy Gold Victoria and Isaac Oberfeld Emma Goltz The Overbrook Foundation Catalina Saieh Guzmán Veronique Parke Nina and Dan Gross José Olympio Pereira Mrs. Donald G. Fisher Countess Nicole Brachetti Peretti Mimi and Peter Haas Fund Alexander Petalas Hayden Family Foundation Holly Peterson Foundation Barbara Hemmerle Gollust Catherine Petitgas

30 31 John and Amy Phelan Family Foundation $5,000 - $9,999 UNDER $1,000 DONORS OF WORKS OF ART Claudio Federico Porcel Elena Bowes Claudia Blum de Barberi Joseph T. Baio Neil and Susan Rector Fund of The Columbus Suzanne Deal Booth Katherine Francey Stables Helen Frankenthaler Foundation, Inc. Foundation The Dinan Family Foundation Caroline Hansberry Pamela J. Joyner and Alfred J. Giuffrida Erica Roberts The Phillip and Irene Toll Gage Foundation Bernard Kalscheuer William and Anne Palmer Stephanie B. Robinson Anna Korshun Emily K. Rafferty The Roman Family Collection Thomas Rom Raymond J Learsy Komal Shah William and Ruth True Roberto Ruhman Sheryl and Eric Maas Peeranut Visetsuth Karen Ruimy Kathleen Madden and Paul Frantz Teresa Sapey Nick and Alma Robson Foundation Lilly Scarpetta Ralph Segreti $1,000 - $4,999 Francis and Eleanor Shen Natalia Bondarenko Neil P. Simpkins and Miyoung E. Lee Robert and Daphne Bransten The Fran & Ray Stark Foundation Averil Curci Norah* and Norman Stone Easton Family Fund Ann Tang Chiu Richard Edwards Josef Vascovitz Elizabeth Enders Peter Warwick The Fullgraf Foundation Richard Weinstein Anne Goldrach Angela K. Westwater Foundation David and Maggi Gordon Michael and Jane Wilson Nancy McCain and Bill Morneau Jessica Zirinis Patricia Ranken Lenore and Herbert Schorr Ellen and Daniel Shapiro Fund of the Jewish Communal Fund John Silberman and Elliot Carlen Kimberly and Tord Stallvik Audrey Wallrock

* deceased

32 33 CONTRIBUTION WORKS OF ART CATEGORIES Support is welcomed from collectors who wish to strengthen Tate’s collection by making gifts The Tate Americas Foundation is a 501(c)(3) of works of art. Please contact us to allow us to independent charity that supports the work of confirm that Tate is able to accept your gift. Tate in the United Kingdom. The Foundation welcomes gifts from individuals, foundations and corporations. Support may be given for general or specific projects including exhibitions, education, capital projects, international programs, or endowment. PLANNED GIVING OPPORTUNITIES

For further information on bequests, life CONTRIBUTION income plans (in exchange for cash, marketable securities or other assets – including works of art), please contact: Support may be made on an annual basis, to one of three membership programs: Catherine Carver Dunn Executive Director $1,000+ Tate Americas Foundation Patron Tate Americas Foundation 520 West 27 Street Unit #404 $1,500+ Tate Americas Foundation Double Patron New York, NY 10001 Tel: 212 643 2818 $15,000 North American Acquisitions Committee Fax: 212 643 1001 Email: [email protected] $15,000 Latin American Acquisitions Committee Visit: www.tateamericas.org

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

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