TATE ANNUAL REPORT 2019/20 CHAIRMAN’S FOREWORD

Until the coronavirus pandemic struck in early Despite the pandemic, we are resolved to TATE TRUSTEES spring, we lived in a familiar world of open continue to bring world-class programmes to As of 31 March 2020 borders, seamless travel and packed galleries. a diverse and engaged audience. By the end This world has been turned upside down by of the reporting period, Tate Membership had John Akomfrah, CBE an economic and public health crisis which grown to 159,000, and there were almost as Lionel Barber (chairman) has had a devastating impact on the arts and many sign-ups in Tate Collective, our special John Booth cultural sector. offer to 16 to 25-year-olds. At the time of our Farooq Chaudhry I would like to thank all at Tate who have forced closure, Warhol and Steve McQueen Tim Davie, CBE helped the institution navigate the most testing were on display at Tate Modern, and Aubrey Dame Jayne-Anne Gadhia, DBE time in generations. We are grateful for their Beardsley at Tate Britain. In July it was a delight Dame Moya Greene, DBE support, especially colleagues within DCMS to give audiences the chance to visit these Katrin Henkel and HM Treasury. Our many friends have been shows anew. Anna Lowe generous with gifts, donations and other forms Along with his exhibition at Tate Modern, Michael Lynton of assistance. They continue to be so, and we Steve McQueen’s remarkable Year 3 project at Dame Seona Reid, DBE are deeply indebted to them all. Tate Britain reopened along with the galleries. Roland Rudd As this report shows, 2019/20 had been These individual portraits from London’s James Timpson, OBE a very successful year. There were a number schools are a joyous expression of the nation’s Jane Wilson of outstanding exhibitions and commissions: future, looking beyond the pandemic to a Frank Bowling and Anne Hardy at Tate Britain, brighter world, where the arts and culture Olafur Eliasson and Kara Walker at Tate Modern, are once again centre stage. Keith Haring at Tate Liverpool and Huguette Tate, let there be no doubt, will be there. Caland at Tate St Ives. All were remarkable shows, demonstrating the breadth of Lionel Barber, Tate’s programmes. Chairman of the Trustees of the Tate Gallery DIRECTOR’S INTRODUCTION

This is not a year any of us is likely to forget. online performance by Faustin Linyekula and In December 2019, with our national partners As we neared the end of the reporting period, children’s activities on the Tate Kids website. in the Plus Tate network, we called on the new we were about to celebrate one of the most There was an large growth in our digital reach, Government to provide access for all children successful years in Tate’s history and were reflecting how critical art and our activities are to visual art through an arts-rich curriculum, planning to announce another year of exciting to local and global audiences. insisting that visual arts must be a core part exhibitions and programme. Within a matter of We must acknowledge 2019/20 as a period of the national curriculum in primary and hours we were forced to close our doors. Little of significant achievement, despite what we are secondary schools in England, as they are did we know that we would have to close for now experiencing. We welcomed 8.26 million elsewhere in the UK. Covid-19 has thrown into the longest period since the Second World War. visitors to our galleries and pushed boundaries relief the inequality of educational access across I would like to pay tribute to our staff, our with ambitious projects such as Steve McQueen’s the UK and we have redirected activities to artists and our many supporters for all they joyous Year 3 at Tate Britain and our most support continued access to art for children, have done for Tate in recent months. During extensive global tour to date of collection young people and their schools and teachers. lockdown we mobilised at pace to enable exhibitions. The programme at all our galleries The abrupt halt and shift due to Covid-19 colleagues to work from home. Exhibition continued to be increasingly diverse with major has thrown into sharp relief the enduring programmes were rescheduled and there international artists like Theaster Gates in importance of museums and galleries to was extensive preparation for the safety of Liverpool, Otobong Nkanga in St Ives and society. At the same time, the global Black Lives our visitors and staff when we reopened our Steve McQueen at both London Tates. Matter movement requires museums to look galleries in July. None of us could have foreseen The wider political landscape of the previous at their own practice and role in society. Tate the scale of the fall in visitors and the huge drop twelve months was also reflected in our has formed a Race Equality Taskforce made up in income we’ve seen. This has led to having activities. When the climate and ecological crisis of colleagues across our organisation so that to make some very tough decisions, not least was brought to urgent world attention through we accelerate change in this area. Whatever in our trading arm Tate Enterprises Ltd with well-publicised activism, Tate Directors, given challenges the next year brings, we want to the loss of many jobs, to our very great regret. impetus by discussion with artists at events at hold on to the importance of art and artists for During closure, we harnessed the creativity Tate Modern, declared a climate emergency understanding what connects us and gives us for which we are celebrated, with new digital in July 2019. We are now at the forefront hope for the future. content. Virtual tours for our Warhol and of the sector in the effort to reduce carbon Beardsley shows were viewed in one month emissions and raise awareness through public Maria Balshaw, alone by 470,000 people. We also released an programmes and exhibitions. Director of Tate CONTENTS

CHAIRMAN’S 1 HIGHLIGHTS 5 TATE EXHIBITIONS 21 OUR SUPPORTERS 39 FOREWORD 2019/20 PROGRAMME INDIVIDUAL, TRUST AND Tate Britain 6 OVERVIEW 22 PUBLIC FUNDING 40 DIRECTOR’S 2 Tate Modern 7 INTRODUCTION Tate Liverpool 8 IN DEPTH 23 ACQUISITION SUPPORT 41 Tate St Ives 9 Performance, Live Art and Film 10 LEGACIES 42 OUR VISION 4 EXHIBITIONS AT 30 COLLECTION OTHER VENUES TATE PATRONS 43 Building the collection 11 Caring for the collection 12 INTERNATIONAL COUNCIL 44 ACQUISITION 33 PARTNERSHIPS HIGHLIGHTS CORPORATE SUPPORT 45 National 13 International 14 TATE COLLECTION 34 SUPPORTERS LIST 46

AUDIENCES ARCHIVE 38 Growing our audiences 15 FACTS AND FIGURES 52 Membership and Tate Collective 16

LEARNING AND RESEARCH Learning 17 Research 18

ESTATES AND INFRASTRUCTURE Environment 19

BUSINESS MODEL Tate Enterprises 20 CONTENTS

OUR VISION Tate promotes the public understanding and enjoyment of British, modern and contemporary art, championing the right to art for everyone.

We want to serve as an artistically adventurous and culturally inclusive museum for the UK and the world. We want to celebrate the art of the past and present in its complexity and diversity, supporting artistic risk-taking and deep scholarship. This will be shared with all our audiences: in our buildings, in exhibitions we tour, through works we loan and across our digital platforms. We believe access to art is a universal human right and we see our galleries as sites of creative learning. We want to champion the importance of making art and encourage people to explore the many ways in which art is created and to develop their own creative potential. We hold the national collection of British art and of modern and contemporary international art that reaches across all continents: we share and celebrate access to this collection and deepen understanding of its importance. Tate is a leading global institution and we will continue to influence critical thinking about art practice. Tate is committed to maintaining free entry to our collections. We want to welcome audiences that better reflect our nation and attract a diverse international public. Our reach is already powerful. We intend to increase its impact across society, with art that will resonate around the world. We will redefine museum experiences for the twenty-first century, offering a greater depth and range of experiences and c Steve M Queen: Year 3 offering visitors multiple points of engagement at Tate Britain with our collection and ideas about art.

TATE ANNUAL REPORT 2019/20 4 HIGHLIGHTS

Olafur Eliasson: In real life at Tate Modern HIGHLIGHTS – PROGRAMME CONTENTS

TATE BRITAIN

Tate Britain combined ambition with The EY Exhibition: Van Gogh in Britain, which experiment, making close connections opened at the end of 2018/19, attracted between art history and its social over 422,000 visitors. Along with a major presentation of the work of William Blake it and cultural contexts. helped the gallery to attract over 1.6 million visitors, the highest number in our history. The legacy of Steve McQueen’s Year 3 will leave its mark for generations. Made in collaboration with A New Direction and Artangel, it was one of the most extensive portraits ever undertaken, photographing over 76,000 schoolchildren across 1,500 London schools.

Artist France-Lise McGurn paints directly onto the walls for her Art Now exhibition at Tate Britain

Tate Britain continued to build our reputation British Baroque and Aubrey Beardsley showcased for championing emerging artists. New historic art while other exhibitions celebrated developments in British art were shown in the contemporary artists: Turner Prize-winner Mark Art Now series with work by Sophia Al-Maria, Leckey, and one of Britain’s most visionary France-Lise McGurn and Joanna Piotrowska. painters, Frank Bowling. Anne Hardy’s winter commission for the J.M.W. Turner was celebrated this year on the Millbank steps, at once fantastical and topical, new £20 note. It was launched by Mark Carney, provided a haunting commentary on changes Governor of the Bank of England, at Tate Britain, Frank Bowling exhibition at Tate Britain to the climate. in front of Turner’s self-portrait.

TATE ANNUAL REPORT 2019/20 6 HIGHLIGHTS – PROGRAMME CONTENTS

TATE MODERN

Tate Modern reaffirmed our We made several new appointments to our commitment to rethink the history of curatorial team with specialisms in African, modern and contemporary art from Middle Eastern and South Asian art, as well as supporting the newly established Hyundai a less Western-centric vantage point. Tate Research Centre: Transnational. We continue to address the imbalances in the representation of gender and presented the first UK retrospectives of four influential women: the Russian avant-garde artist Natalia Goncharova; Dora Maar, reappraised as a force in modernism; and a free display of the work of Dora Maurer. The fifth Hyundai Commission for the Turbine Hall was created by Kara Walker, known for her provocative and candid investigations of race and sexuality. Her 13-metre-high fountain, Fons Americanus, explored the interconnected histories of Africa, America and Europe, through water and the transatlantic slave trade. Olafur Eliasson: In real life brought to our audiences some of the most exciting immersive installations in the world and prompted discourse on social issues and the climate emergency. An accompanying event on this theme, Art in Real Life: Addressing the Sustainability Challenge, was staged in the Turbine Hall in July 2019 and featured key voices from across the social and political spheres. We also presented the work of Korean-born visionary Nam June Paik, the influential Greek sculptor Takis, and ended the year with major exhibitions of Andy Warhol and Steve McQueen. New collection displays showed work by artists from around the world, including Bani Abidi, Nairy Baghramian, Igor Grubic and Yin Xiuzhen.

Above: Natalia Goncharova at Tate Modern

Right: Nam June Paik at Tate Modern

TATE ANNUAL REPORT 2019/20 7 HIGHLIGHTS – PROGRAMME CONTENTS

TATE LIVERPOOL

A key focus of Tate Liverpool is to tell A new model for exhibitions was begun this stories of modern and contemporary year with an open call from artists from the art through the lens of Liverpool and North West of England to create an exhibition for the gallery. The inaugural winner was the North. Emily Speed, who will present her work in 2021. We were privileged to display Theaster Gates’s Amalgam, his first solo museum show in the UK. This focused on the history of an ethnically mixed community evicted from the island of Malaga off the north-eastern US state of Maine in 1912. We presented the first major show in the UK of Keith Haring, showing his politically charged work as an AIDS activist, and nuclear disarmament and anti-apartheid campaigner. The poetic canvases made by the Swiss- Argentine artist Vivian Suter in her home in the hills of Guatemala were shown for free in the ground floor Wolfson Gallery, as was an immersive installation by the Venezuelan artist Sol Calero, who explored issues around cultural stereotypes and tourism.

Keith Haring at Tate Liverpool

TATE ANNUAL REPORT 2019/20 8 HIGHLIGHTS – PROGRAMME CONTENTS

TATE ST IVES

The programme at Tate St Ives This was reflected in the gallery’s contemporary In June 2019 around 3,000 people took The year concluded with a major exhibition embodies the internationalism and exhibitions, commissions and residencies. part in 063 Urban Songline (Another Hurling of the work of Naum Gabo, one of the great experimentation that distinguished Otobong Nkanga’s From Where I Stand was of the Silver Ball) by artist Allard van Hoorn. pioneers of constructivism, marking the the artist’s first UK museum survey. It focused This new performance work was based on centenary of his Realistic Manifesto, the the work of the original St Ives on the processes and consequences of the the 1,000-year-old St Ives Feast Day tradition seminal proclamation of the modernist era. painters who made the town famous. extraction of natural resources from the land, of ‘hurling’, where a small silver ball is chased a subject with echoes of Cornwall’s mining through the town. Van Hoorn reimagined the and industrial past. A survey of the work of the silver ball at a much greater scale, collaborating Lebanese artist Huguette Caland shone light on with local residents to create a unique her under-recognised role in the development procession which celebrated the past, present of international modern art. and future of St Ives. Hugette Caland at Tate St Ives

TATE ANNUAL REPORT 2019/20 9 HIGHLIGHTS – PROGRAMME CONTENTS

PERFORMANCE, LIVE ART AND FILM

Tate has one of the most significant The annual BMW Tate Live Exhibition also brings French choreographer Boris Charmatz’s London collections of live and performance art powerful shared experiences by visionary premiere of 10000 Gestures, co-presented with in the world. artists into our galleries. The March 2020 Sadler’s Wells. edition coincided with the beginning of the UK’s Film seasons celebrated artists and coronavirus lockdown, but one of the artists, filmmakers who challenge the conventions Faustin Linyekula, was already in London. He of the moving image. We held a number of worked with Tate to stage a one-off, site-specific UK premieres: Carlos Casas’s Cemetery which work, performed to cameras in the empty raised questions about the environment and Tanks. This was then made available for people colonialism; Congolese musician and artist to watch digitally from home. Nkisi’s The Spiral, made specifically for the Pan Daijing’s new play Tissues, uniting opera, Starr Cinema at Tate Modern; and Jill Magid’s dance, cinema and poetry, was one of the The Proposal, which explored heritage and 10000 Gestures by Boris Charmatz year’s highlights at Tate Modern, as was the repatriation. in Tate Modern’s Turbine Hall

TATE ANNUAL REPORT 2019/20 10 HIGHLIGHTS – COLLECTION CONTENTS

BUILDING THE COLLECTION Our priority is to increase our holdings of work by women, LGBTQIA+ artists, minority artists and artists of colour across the British and international collections.

We continue our strategy of telling new The British collection was enhanced with transnational histories and are pursuing some standout photographic works by women, our interest in the work of First Nation and Maud Sulter’s Les Bijoux IV from 2002 and Indigenous artists. Shirley Baker’s Manchester 1965 among them. Thanks to the generosity of our supporters, Mike Nelson’s The Asset Strippers (Elephant) 2019, this year we added 480 works to the collection an element of his powerful installation in the of which 180 were by British artists and 300 by Duveen Galleries, was also a highlight. international artists. The full list is available at We acquired work from both Frieze London www.tate.org.uk/about-us/tate-reports. and Frieze Masters for the first time, thanks to We announced a further round of artworks funds from Endeavor. These were by Jagoda giving Australian artists more visibility through Buic, Marc Camille Chaimowicz, Paulo Nazareth a joint acquisition programme with the Museum and Patrick Staff. of Contemporary Art Australia and Qantas. Tate Archive, the largest archive of British art Pieces were acquired by Dale Harding, Robert in the world, celebrated its fiftieth anniversary Hunter and Justene Williams. in 2020. We received transformative additions, Other highlights of the international among them Derek Jarman’s notebooks, acquisitions include a group of three quilted sketchbooks and letters on long-term loan as canvases by the Filipino artist Pacita Abad, a part of Art Fund’s successful campaign to save section of Kemang Wa Lehulere’s multi-part Jarman’s Prospect Cottage and its contents for sculpture, I cut my skin to liberate the splinter, the nation. The National Trust gifted over 5,000 commenting on his experiences growing up in sketches and drawings by the British surrealist apartheid South Africa, and a large, two-part Ithell Colquhoun which reunited these with the sculpture by the Slovakian artist Stano Filko. bequest of her papers left to Tate in 1989. Among many other works, we acquired The Marie-Louise von Motesiczky Charitable Vessel 1961 by Helen Frankenthaler, the first Trust gave the Archive its largest-ever grant, piece in the collection by this major figure which will help us present regularly changing of abstract American art, and a painting by displays of archival material in the Archive Dorothea Tanning. Gallery at Tate Britain.

Pacita Abad European Mask 1990

TATE ANNUAL REPORT 2019/20 11 HIGHLIGHTS – COLLECTION CONTENTS

CARING FOR THE COLLECTION

Tate is a world leader in collection care Through the research initiative Reshaping the research and practice. Collectible: When Artworks Live in the Museum, funded by Andrew W. Mellon, we have been able to explore and reveal how collection care disciplines are developing to manage, preserve and display complex artworks within our collections. Building on our pioneering expertise in time-based media and live performance art, the research made possible the restaging at Tate Liverpool of Tony Conrad’s Ten Years Alive on the Infinite Plain, which was first performed in New York in 1972. Among the many current projects for our conservation scientists is a collaboration with the UCL Institute for Sustainable Heritage to explore a new approach to polymer degradation. This will aim to support the preservation of plastic objects in national collections. Exhibitions and displays regularly require collection care expertise across many fields, both historic and contemporary. For British Baroque, the newly acquired, early eighteenth- century painting The Whig Junto was conserved along with its complex frame. At Tate Modern, the display of Nan Goldin’s multiple-slide work, The Ballad of Sexual Dependency, portraying American underground culture in the 1980s, was made possible by our time-based media conservation experts. At Tate Liverpool, art handling and conservation teams installed a twelve-metre-long work on paper by Keith Haring. This impressive feat took six people four hours to achieve. We are now working with City & Guilds London Art School to set up a BA (Hons) Conservation: Books and Paper. Few opportunities to study book and paper conservation exist in the UK.

Tony Conrad Ten Years Alive on the Infinite Plain 1972 at Tate Liverpool

TATE ANNUAL REPORT 2019/20 12 HIGHLIGHTS – PARTNERSHIPS CONTENTS

NATIONAL Tate works with organisations from all parts of the UK to bring art to as many people as possible.

The Plus Tate network of visual arts The five-year tour of Constable’s Salisbury organisations issued a call for new members Cathedral from the Meadows to six UK venues which expanded the group to forty-eight. concluded in 2019. The six national tour It hosted a ‘state of the nation’ symposium partners will continue to have a say in how the on diversity in the visual arts, with the aim work is displayed and shared with the public, of driving a step change in the sector. and Tate will help to build the capacity of Participants examined structures and museums and galleries of all kinds and scales behaviours in their own organisations and to borrow and lend from their collections. looked at ways to increase diversity and A new season of ARTIST ROOMS was support the necessary leadership skills in announced at partner venues and galleries this area. Six Plus Tate early-career curators in Cardiff, Leamington Spa, Newcastle and on attended the Children of Grizedale professional the Isle of Wight. Now in the tenth year of its development programme. tour, ARTIST ROOMS have been seen by over The British Art Network comprises 602 53 million people at 87 venues across the UK. members representing 256 Higher Education, The 2019 Turner Prize was presented at Turner arts and heritage organisations. In 2019, Tate Contemporary in Margate where it attracted formed a new partnership with the Paul Mellon 141,000 people, one of the largest audiences Centre for Studies in British Art. This will support in its history. In recognition of the nominated the network’s subject specialist groups and artists’ shared commitment to urgent social and expand the Early Career Curators Group from political causes, the jury honoured their request ten to fifteen, with bursaries to fund workshops to award the prize to all four as a collective. and self-facilitated research. Two major The prize was presented by Edward Enninful, conferences were hosted this year: on Curatorial editor of British Vogue. Ecosystems; and Contemporary Public Art in the Urban Landscape. Le Passeur (The Ferryman) 1881 by William Stott of Oldham returned to Tate Britain, after five years on tour, for the final leg of a unique partnership with five tour venues across the UK. As part of this project, strategic loan bursaries were awarded to eleven UK galleries enabling works from Tate’s collection to travel across the country to, among others, Clockwise from top left: Turner Prize exhibitions Ikon in Birmingham, Shetland Museum and by Tai Shani, Lawrence Abu Hamdan, Oscar Murillo Archive, Gracefield Arts Centre in Dumfries and and Helen Cammock. The four artists accepted the prize as a collective Ceredigion Museum in Wales.

TATE ANNUAL REPORT 2019/20 13 HIGHLIGHTS – PARTNERSHIPS CONTENTS

INTERNATIONAL

This was an exceptional year for our Fourteen exhibitions of collection works were J.M.W. Turner: Horror and Delight at LWL Münster exchange in the region and will provide the international partnerships and we curated specially for international venues – a was the most visited show in their history with Pudong gallery with training and expertise in worked with more institutions around record. An exhibition of work by David Hockney over 137,000 visitors. multiple fields as well as an inaugural exhibition delighted visitors in Asia at M Woods Museum Many of our temporary exhibitions in drawn from Tate’s collection. the world than ever before in Beijing and Seoul Museum of Art. It was partnership with cultural institutions across the Tate hosted the fourth Tate Intensive this seen by nearly half a million people in total, world also went on tour, taking successes such year, an annual one-week event for visual becoming one of the most visited shows in as Soul of a Nation and Edward Burne-Jones to arts practitioners from around the world. Seoul Museum of Art’s history. global audiences. A full list of these is shown Two Brooks Fellows from India and Argentina We also shared the collection with shows in from page 31 of this report. were hosted through the Brooks International Mystic Seaport, Lucerne, Hamburg, Hong Kong, Tate signed contracts in January 2020 with Fellowship Programme, which enabled six- Milan, Münster, Nashville, Paris and Rome. Shanghai Lujiazui Group – a leading state- month research projects in curatorial, learning These showcased some of the most renowned owned developer in China – as part of the and research departments. The Brooks British artists including Francis Bacon, Lucian development of Shanghai’s Pudong Museum Programme is generously supported by the Freud, Barbara Hepworth and J.M.W. Turner. of Art. This signals our commitment to cultural Rory and Elizabeth Brooks Foundation.

An exhibition of Tate’s Pre-Raphaelite works was shown at Milan’s Palazzo Reale

TATE ANNUAL REPORT 2019/20 14 HIGHLIGHTS – AUDIENCES CONTENTS

GROWING OUR AUDIENCES Our aim is to attract ever broader and more diverse audiences, and to enhance the experience of art for young people, families and local communities.

We must be relevant for those we serve in On social media (Instagram, Facebook and the towns and cities where our galleries are Twitter) there were over 550 million impressions situated. Through our digital and social media – a 20 per cent increase on last year. We also channels we continue to deepen engagement had 15.3 million engagements in response to with people around the world. our posts – likes, comments, shares or retweets. Tate’s website was visited by over 20 million Our Instagram channel grew by 23 per cent people. We have made significant strides in over the year and we now have 3.5 million the accessibility of the site with transformative followers across 180 countries. Tate released changes to how visitors can find out about the eight augmented reality (AR) filters that bought collection. New features such as Tate Paint on artworks from our collection to life. We were the Tate Kids website have proved popular. The the first UK institution to offer this experience website played a critical role in our response to and won the award for the best use of AR at the the coronavirus pandemic, ensuring people had Social Media Marketing Awards as well as two continued access to our collections and content. Webby Awards Nominations. Successful partnerships have produced Tate’s social channels marked Black History ground-breaking projects. Among these have Month by highlighting Black artists. These posts been a video with Corali, a company of dancers had more than half a million engagements. We with learning disabilities; and a collaborative marked Women’s History Month by telling the project between Tate and i-DAT, University stories of women artists in history, with a focus of Plymouth, which resulted in an interactive on artists from under-represented groups. projection of Naum Gabo’s Bronze Spheric Theme The response was vast, commented on or as part of the exhibition at Tate St Ives. shared over 1.6 million times.

Instagram AR filters told the stories behind paintings from Tate Britain’s collection displays

TATE ANNUAL REPORT 2019/20 15 HIGHLIGHTS – AUDIENCES CONTENTS

MEMBERSHIP AND TATE COLLECTIVE

Our Members are incredibly important We extended Memberships for the duration to us, and we’re doing what we can to of the closure, and gave Members special maintain these often very long-term access to content like Andy Warhol and Aubrey Beardsley video tours, as well as refocusing relationships. Tate Etc magazine on home readers, collections and behind-the-scenes stories. Despite the galleries having closed, we finished the year with a record 159,301 members. Tate Collective has rapidly grown over the year with 153,000 sign ups since it was launched in 2018. This group specifically for those aged between 16 and 25, offers tickets to Tate exhibitions for £5. A bespoke website showcases videos by advocates and young talent, with films on forging careers in the arts, advice from established artists, and platforms for discussion around identity and race. Tate Collective Producers, peers from this group, devise and curate their own programme of activities. This year, responding to key themes of the Eliasson exhibition at Tate Modern, they presented a series of sensory and exploratory events on environmental racism and the practical ways young people can act against climate change in their day-to-day lives.

Visitors to Tate Modern’s collection displays during Uniqlo Tate Lates

TATE ANNUAL REPORT 2019/20 16 HIGHLIGHTS – LEARNING AND RESEARCH CONTENTS

Tate Exchange explored the theme of ‘power’

LEARNING

Our learning programmes are for Steve McQueen’s Year 3 was one of the most the public adjudicated on legal responsibility In St Ives, young artists from the Tate Collective everyone and for all ages, reflecting ambitious undertakings in Tate’s history. It and accountability for the climate emergency. Producers programme started a residency at the role that art can play in society. showed the appetite of young children to This was facilitated by the human rights lawyer the historic Porthmeor Studios, experimenting engage with art and our ambition for the legacy Tim Crosland of Plan B, with 198 Contemporary with their practice and holding an open studio. of the project is an arts-rich curriculum for all. Arts, Extinction Rebellion and others. The power Others formed their own dance collective We supported the schools who took part with of participatory dance to help people recover and performed with Otobong Nkanga at her learning resources, created new family activities from addiction was examined at Tate Liverpool, exhibition opening. Tate St Ives also organised and developed additional space for children at responding to themes in the Keith Haring a careers fair in partnership with Falmouth Tate Britain. exhibition. University, to help young people get into careers This was the fourth year of Tate Exchange, Tate has one of the most popular and in the creative industries. our pioneering learning project at Tate Modern extensive programmes of Lates in the UK, Tate offers a vast range of talks and and Tate Liverpool. The theme for the year was regular evenings for younger audiences which workshops across all four galleries. A highlight ‘Power’ and the lead artists were the all-women showcase emerging creative talent. These this year was the Terra Foundation for American collective Hyphen Labs. Different interpretations events are a chance to network, debate and Art Series: New Perspectives, which explored of power and its implications were explored in share ideas. We celebrated three years of Uniqlo an expanded view of American art and artists. hundreds of workshops and events across the Tate Lates at Tate Modern in 2019, attended by As part of this we looked at the work of year, created in association with over 80 arts more than 350,000 people since they launched Nam June Paik, Kara Walker and Andy Warhol, and community groups. in 2016. The events continued online during the focusing on the dual themes of identity A highlight was All Rise for the Planet, a coronavirus lockdown, as did the ever popular and power. fictional people’s court set in 2030 in which Late at Tate Britain.

TATE ANNUAL REPORT 2019/20 17 HIGHLIGHTS – LEARNING AND RESEARCH CONTENTS

RESEARCH

In these challenging times, research Research is the engine that drives the plays an ever more important role organisation. It encompasses art history, visual in enabling us to investigate and culture, conservation science, cultural theory and policy, education and museum studies. critically reflect on the urgent issues With a refreshed research strategy launched affecting Tate. in October 2019, we are working in multiple, interconnected ways, combining staff-led, practice-based enquiry with bespoke projects undertaken with external partners. Tate also co-hosts 29 collaborative doctoral partnerships with students working with academic institutions in the UK and Europe. The Hyundai Tate Research Centre: Transnational continues to deepen our commitment to telling multiple art histories beyond Europe and North America. We co-organised the Centre’s first symposium, Axis of Solidarity, with the Institute of Comparative Modernities at Cornell University and the Africa Institute, Sharjah, UAE, and held a further six collaborative events. Three Adjunct Curators were appointed, based in Africa, Latin America and the Caribbean. The research initiative Reshaping the Collectible: When Artworks Live in the Museum, is developing new models for the conservation and stewardship of complex works of art. The project is building our ability to collect diverse artistic practices, whilst revealing how these works question boundaries between the art collection and the archive. Tate is leading one of five foundational projects as part of the five-year AHRC programme Towards a National Collection: Opening UK Heritage to the World. This programme is exploring how to create a unified virtual ‘national collection’ using digital technologies. Tate’s Provisional Semantics project is examining how to embed ethical and sustainable methods to update any outdated Lives of Net Art research event organised as part and offensive language that has been used to of Reshaping the Collectible: When Artworks Live in the Museum, at Tate Modern describe museum collections.

TATE ANNUAL REPORT 2019/20 18 HIGHLIGHTS – ESTATES AND INFRASTRUCTURE CONTENTS

ENVIRONMENT

Tate has committed to reduce our We have achieved a 40 per cent reduction so We have made substantial progress this year: We also divert all waste away from landfill to carbon emissions by 50 per cent by far and will achieve at least a further ten per create energy and around 75 per cent of our 2023 from the baseline year of 2007/8. cent by 2023. We also aspire to make tangible – We commissioned Julie’s Bicycle to carry out waste is recycled. We have an action plan to progress towards net zero emissions by 2030. an audit of all of our operations; enhance biodiversity within the Tate estate. It is crucial that we examine our operations, Varied habitats have been provided wherever working sustainably to protect the environment. – Switched to a renewable electricity tariff possible and we have reviewed the types of across all four galleries, ensuring the power plants in Tate’s gardens, adding those that are we consume is matched with electricity more bee friendly. sourced from 100% renewable sources;

– Lowered energy consumption by replacing or updating our heating and cooling machinery, lighting controls and water-monitoring equipment.

– Continued the changeover to low-energy LED lighting in all our galleries;

– Tate’s WiFi Environmental Monitoring System was extended across the four galleries. It provides live data with remote access, facilitating care of the collection;

– And we are taking the leading role in improving environmental sustainability within the museum sector across Collection Care, Curatorial and Estates teams, working with networks across the UK and internationally. We ask staff to use trains where possible for travel, reducing the number of flights.

The Barbara Hepworth Garden in St Ives

TATE ANNUAL REPORT 2019/20 19 HIGHLIGHTS – BUSINESS MODEL CONTENTS

TATE ENTERPRISES

The success of Tate Enterprises in As Tate’s commercial subsidiary, comprising 2019/20 was severely impacted by Tate Commerce and Tate Eats, Tate Enterprises the global pandemic Ltd was badly hit by the fall in visitors to all four galleries. Up to March 2020, this had been an otherwise successful year, but the unavoidable plunge in revenue since has led to a regrettable loss of jobs, something we exhaustively tried to mitigate. We acknowledge that this has been a devastating time for all in Tate Enterprises but are now beginning to grow the business for the future. Before the pandemic we achieved a great deal. We increased the number of vegetarian dishes and vegetarian food now accounts for 40 per cent of sales. We also worked with Studio Olafur Eliasson to create a special menu for Tate Modern’s Terrace Bar throughout the run of Eliasson’s exhibition, based on organic, vegetarian and locally sourced food. The climate emergency has impacted all our activities. We are using recycled and/or recyclable packaging for shop deliveries, have changed all retail carrier bags from biothene to paper, and are reducing single-use packaging across our outlets. We pioneered a circular economy approach to clothing in our shops as part of the Olafur Eliasson exhibition. This meant that discounts on exhibition T-shirts were offered to visitors who brought in old T-shirts for us to recycle. For many years we have sourced and roasted our own coffee, purchased in line with our Gender Equality Project. Every kilo comes equally from female and male producers, championing female coffee producers and family farmers who equitably share household income, resources and decision-making.

We worked with Studio Olafur Eliasson’s renowned kitchen to create a special menu for the Terrace Bar at Tate Modern

TATE ANNUAL REPORT 2019/20 20 TATE EXHIBITIONS 2019/20

Otobong Nkanga at Tate St Ives TATE EXHIBITIONS 2019/20 CONTENTS

Tate offers a diverse and vibrant programme of temporary exhibitions and commissions at all four venues

TATE BRITAIN TATE MODERN TATE LIVERPOOL TATE ST IVES

FRANK BOWLING NATALIA GONCHAROVA KEITH HARING HUGUETTE CALAND 31 May – 26 August 2019 6 June – 8 September 2019 14 June – 10 November 2019 24 May – 1 September 2019

WILLIAM BLAKE TAKIS SOL CALERO: ALLARD VAN HOORN: 11 September 2019 – 2 February 2020 3 July – 27 October 2019 EL AUTOBUS URBAN SONGLINES 2009–19 14 June – 10 November 2019 24 May – 1 September 2019 MARK LECKEY: OLAFUR ELIASSON: O’ MAGIC POWER OF BLEAKNESS IN REAL LIFE VIVIAN SUTER OTOBONG NKANGA 24 September 2019 – 5 January 2020 11 July 2019 – 5 January 2020 13 December 2019 – 15 March 2020 21 September 2019 – 5 January 2020

STEVE MC QUEEN: HYUNDAI COMMISSION: THEASTER GATES: MIKHAIL KARIKIS: YEAR 3 KARA WALKER: FONS AMERICANUS AMALGAM CHILDREN OF UNQUIET 12 November 2019 – 31 January 2021 2 October 2019 – 7 February 2021 13 December 2019 – 18 March 2020 21 September 2019 – 5 January 2020 Closed 18 March – 26 July and 5 November – Closed 18 March – 26 July and 5 November – Closed early due to coronavirus 1 December 2020 due to coronavirus 1 December 2020 due to coronavirus NAUM GABO 25 January – 27 September 2020 TATE BRITAIN WINTER COMMISSION NAM JUNE PAIK Closed 18 March – 26 July due to coronavirus 30 November 2019 – 26 January 2020 17 October 2019 – 9 February 2020 EMILY SPEED: BRITISH BAROQUE: DORA MAAR ROOMS DESIGNED FOR A WOMAN POWER AND ILLUSION 20 November 2019 – 15 March 2020 25 January – 27 September 2020 4 February – 18 March 2020 Closed 18 March – 26 July due to coronavirus Closed early due to coronavirus STEVE MC QUEEN 13 February – 6 September 2020 AUBREY BEARDSLEY Closed 18 March – 6 August due to coronavirus 4 March – 20 September 2020 Closed 18 March – 26 July due to coronavirus ANDY WARHOL 12 March – 4 November 2020 Closed 18 March – 26 July due to coronavirus

TATE ANNUAL REPORT 2019/20 22 TATE EXHIBITIONS 2019/20 CONTENTS

HUGUETTE CALAND TATE ST IVES 24 May – 1 September 2019

– First UK museum show of this Lebanese artist.

– Erotically charged paintings challenged traditional conventions of beauty.

FRANK BOWLING TATE BRITAIN 31 May – 26 August 2019

– Celebration of this artist’s remarkable six-decade career.

– Full breadth of his experimentation in paint. Clockwise from top left: – From his Guyanian heritage and his years in Huguette Caland; Frank Bowling; Natalia Goncharova; Sol Calero: London and New York. El Autobus

NATALIA GONCHAROVA TATE MODERN 6 June – 8 September 2019

– First UK retrospective of this leading exponent of the Russian avant-garde.

– Explored her diverse sources, from Russian folk art to international modernism.

SOL CALERO: EL AUTOBUS TATE LIVERPOOL 14 June – 10 November 2019

– New commission inspired by this Venezuelan artist’s recent journey through Latin America.

– Explored themes of marginalisation, globalisation and tourism.

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KEITH HARING TATE LIVERPOOL 14 June – 10 November 2019

– Major exhibition of this iconic American artist.

– 85 works showing his unique presence in 1980s New York.

– Explored his legacy as AIDS activist and educator.

TAKIS TATE MODERN 3 July – 27 October 2019

– Lifetime celebration of this artist rarely shown in depth. Clockwise from top left: Keith Haring; Takis; Olafur Eliasson: – Sculptor of magnetism, light and sound. In real life

– One of the most original artistic voices in Europe from the 1960s onwards.

OLAFUR ELIASSON: IN REAL LIFE TATE MODERN 11 July 2019 – 5 January 2020

– Full range of this Icelandic artist’s diverse practice.

– Large-scale immersive experiences drew in over half a million visitors.

– Showed his deep engagement with environmental issues.

TATE ANNUAL REPORT 2019/20 24 TATE EXHIBITIONS 2019/20 CONTENTS

WILLIAM BLAKE TATE BRITAIN 11 September 2019 – 2 February 2020

– Large-scale survey by this visionary painter, printmaker and poet.

– 300 works, many rarely seen.

– Rediscovery of Blake as a visual artist for the twenty-first century.

OTOBONG NKANGA TATE ST IVES 21 September 2019 – 5 January 2020

– First UK museum survey.

– Tapestry, drawing, photography, video and installation.

– Explored the politics of land ownership and the extraction of minerals.

MARK LECKEY: O’ MAGIC POWER OF BLEAKNESS TATE BRITAIN 24 September 2019 – 5 January 2020

– An atmospheric theatrical experience of spectral visions, sound and video.

– Included massive, life-size replica of a Clockwise from above: motorway bridge on the M53. Otobong Nkanga; William Blake; Mark Leckey: O’ Magic Power of Bleakness – Also showed some of his seminal video works.

TATE ANNUAL REPORT 2019/20 25 TATE EXHIBITIONS 2019/20 CONTENTS

HYUNDAI COMMISSION KARA WALKER: FONS AMERICANUS TATE MODERN 2 October 2019 – 7 February 2021 Closed 18 March – 26 July and 5 November – 1 December 2020 due to coronavirus

– Fifth Hyundai commission – questioned narratives of power past and present.

– 13-metre-high monumental fountain told the stories of African diaspora.

NAM JUNE PAIK TATE MODERN 17 October 2019 – 9 February 2020

– 200 works by this visionary Korean-born artist.

– Mesmerising riot of light and sound.

– Founding figure of film and video art and a pivotal figure in transnational art history

STEVE MC QUEEN: YEAR 3 TATE BRITAIN 12 November 2019 – 31 January 2021 Closed 18 March – 26 July and 5 November – 1 December 2020 due to coronavirus

– An ambitious visual portrait of citizenship.

– Epic installation documented 76,000 London schoolchildren, two thirds of London’s seven Clockwise from top left: to eight-year olds. Nam June Paik; Hyundai Commission: Kara Walker; Steve M cQueen: Year 3 – Profound legacy for future generations.

TATE ANNUAL REPORT 2019/20 26 TATE EXHIBITIONS 2019/20 CONTENTS

DORA MAAR TATE MODERN 20 November 2019 – 15 March 2020

– First UK retrospective.

– Over 200 works revealed her under- appreciated contribution to surrealism.

WINTER COMMISSION ANNE HARDY: THE DEPTH OF DARKNESS, THE RETURN OF THE LIGHT TATE BRITAIN 30 November 2019 – 26 January 2020

– Transformed Millbank façade with winter solstice-inspired installation.

– Topical comment on the climate emergency.

Clockwise from top left: Winter Commission: Anne Hardy; THEASTER GATES: AMALGAM Theaster Gates: Amalgam; Dora Maar TATE LIVERPOOL 13 December 2019 – 18 March 2020 Closed early due to coronavirus

– First UK solo museum show of this acclaimed US artist.

– Explored interweaving issues of race, territory and inequality in the US.

– Focused on the fate of the ethnically mixed community off the coast of Maine.

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VIVIAN SUTER TATE LIVERPOOL 13 December 2019 – 15 March 2020

– Presented Nisyros (Vivian’s Bed) – 53 large- scale, brightly coloured paintings.

– Reflecting the tropical landscape of Panajachel in Guatemala.

NAUM GABO TATE ST IVES 25 January – 27 September 2020 Closed 18 March – 26 July due to coronavirus

– UK’s first large-scale Gabo exhibition for 30 years.

– Marked centenary of his Realistic Manifesto.

– Fresh perspectives on his ground-breaking experiments.

Clockwise from top left: Naum Gabo; British Baroque; BRITISH BAROQUE: Vivian Suter POWER AND ILLUSION TATE BRITAIN 4 February – 18 March 2020 Closed early due to coronavirus

– First show of baroque art in Britain in the Stuart period, 1660–1714.

– New historic discoveries; many works restored for public view.

TATE ANNUAL REPORT 2019/20 28 TATE EXHIBITIONS 2019/20 CONTENTS

STEVE MC QUEEN TATE MODERN 13 February – 6 September 2020 Closed 18 March – 6 August due to coronavirus

– First McQueen survey for twenty years.

– Addressed representation, identity and history.

– A sequence of major film installations which completely transformed the exhibition space.

AUBREY BEARDSLEY TATE BRITAIN 4 March – 20 September 2020 Closed 18 March – 26 July due to coronavirus

– Largest display of his drawings in 50 years.

– 200 works and key commissions that defined Clockwise from top left: his career. c Steve M Queen; Andy Warhol; Aubrey Beardsley – Revealed his astonishing and prodigious output before he died aged 25.

ANDY WARHOL TATE MODERN 12 March – 4 November 2020 Closed 18 March – 26 July due to coronavirus

– A new lens on this American icon, foregrounding his queer identity and obsession with death.

– Largest group of Ladies and Gentlemen series shown in the UK.

– First major Warhol show at Tate for 20 years.

TATE ANNUAL REPORT 2019/20 29 EXHIBITIONS AT OTHER VENUES

Soul of a Nation: Art in the Age of Black Power 1963–1983 at de Young, San Francisco EXHIBITIONS AT OTHER VENUES CONTENTS

TATE COLLECTION EXHIBITIONS ARTIST ROOMS TURNER PRIZE 2019

DAVID HOCKNEY: OBJECTS OF WONDER: ROY LICHTENSTEIN Turner Contemporary, Margate WORKS FROM THE TATE COLLECTION FROM PEDESTAL TO INTERACTION Grundy Art Gallery, Blackpool 28 September 2019 – 12 January 2020 SeMA, Seoul, South Korea ARoS, Aarhus, Denmark 13 July – 7 September 2019 21 March – 4 August 2019 11 October 2019 – 1 March 2020 Hatton Gallery, Newcastle upon Tyne THE FERRYMAN PROJECT M Woods - Hutong, Beijing, China BARBARA HEPWORTH 28 September 2019 – 4 January 2020 30 August 2019 – 5 January 2020 Musée Rodin, Paris, France LE PASSEUR: 31 October 2019 – 14 March 2020 DIANE ARBUS THE FERRYMAN’S JOURNEY Bucerius Kunst Forum, Hamburg, Germany Leamington Spa Art Gallery & Museum Aberdeen Art Gallery 1 February – 13 September 2020 J.M.W. TURNER: 20 September – 1 December 2019 2 November 2019 – 8 March 2020 HORROR AND DELIGHT PRERAFFAELLITI: LWL Münster, Germany VIJA CELMINS AMORE E DESIDERIO 8 November 2019 – 26 January 2020 Quay Arts, Isle of Wight Palazzo Reale, Milan, Italy 21 September – 16 November 2019 19 June – 6 October 2019 A SENSE OF PLACE Hong Kong Museum of Art, China AUGUST SANDER TURNER: 29 November 2019 – 27 May 2020 National Museum Cardiff THE SEA AND THE ALPS 26 October 2019 – 1 March 2020 Kunstmuseum Luzern, Switzerland JMW TURNER: 6 July – 13 October 2019 THE QUEST FOR THE SUBLIME RICHARD LONG Frist Art Museum, Nashville, Tennessee, US Thelma Hulbert Gallery, Honiton L’ÂGE D’OR DE LA PEINTURE ANGLAISE DE 20 February 2020 – 7 September 2020 22 February – 31 October 2020 REYNOLDS À TURNER RMN-Musee du Luxembourg, Paris, France TURNER: 11 September 2019 – 16 February 2020 PAINTINGS AND WATERCOLOURS FROM TATE BACON, FREUD AND THE SCHOOL Musée Jacquemart André, Paris, France OF LONDON 13 March 2020 – 10 January 2021 Chiostro del Bramante, Rome, Italy 26 September 2019 – 23 February 2020

JMW TURNER: WATERCOLORS FROM TATE Mystic Seaport Museum, Connecticut, US 5 October 2019 – 23 February 2020

TATE ANNUAL REPORT 2019/20 31 EXHIBITIONS AT OTHER VENUES CONTENTS

ALSO PRESENTED AT ALSO PRESENTED AT ALSO PRESENTED AT ALSO PRESENTED AT TATE BRITAIN TATE MODERN TATE LIVERPOOL TATE ST IVES EDWARD BURNE-JONES JOAN JONAS FERNAND LEGER AND MODERN LIFE OTOBONG NKANGA: Prins Eugens Waldermarsudde, Stockholm, Serralves, Porto, Portugal Institut Valencia d’Art Modern, Spain FROM WHERE I STAND Sweden 9 May – 1 September 2019 3 May – 15 September 2019 MIMA, Middlesbrough, UK 14 September 2019 – 26 January 2020 14 March 2020 – 21 February 2021 DORA MAAR KEITH HARING KODE Bergen, Norway Centre Pompidou, Paris, France BOZAR Centre for Fine Arts, Brussels, Belgium 15 February – 31 May 2020 5 June – 29 July 2019 6 December 2019 – 21 July 2020

PIERRE BONNARD: Museum Folkwang, Essen, Germany THE COLOUR OF MEMORY 21 August – 29 November 2020 Ny Carlsberg Glyptotek, Copenhagen, Denmark 6 June – 22 September 2019

Bank Austria Kunstforum, Vienna, Austria 10 October 2019 – 12 January 2020

NATALIA GONCHAROVA Palazzo Strozzi, Florence, Italy 28 September 2019 – 12 January 2020

Ateneum Art Museum, Helsinki, Finland 21 February – 24 May 2020

SOUL OF A NATION: ART IN THE AGE OF BLACK POWER 1963–1983 de Young, San Francisco, US 9 November 2019 – 15 March 2020

TAKIS MACBA, Barcelona, Spain 22 November 2019 – 13 September 2020

OLAFUR ELIASSON: IN REAL LIFE Guggenheim Bilbao, Spain 14 February 2020 – 4 April 2021

NAM JUNE PAIK Stedelijk Museum, Amsterdam, Netherlands 14 March – 3 October 2020

TATE ANNUAL REPORT 2019/20 32 ACQUISITION HIGHLIGHTS

Kemang Wa Lehulere I cut my skin to liberate the splinter: Act 1 2017 ACQUISITION HIGHLIGHTS CONTENTS

TATE COLLECTION

Thanks to generous donations, Tate is John Closterman 1660–1711 Eleanor Fortescue-Brickdale 1872–1945 Gluck 1895−1978 able to add to the national collection of Portrait of an Unknown Gentleman c.1702–5 The Châtelaine exhibited 1904 Flora’s Cloak c.1923 British, modern and contemporary art. John Closterman was one of the leading One of the pre-eminent women artists of her Gluck came from a wealthy family who In 2019/20 we acquired 480 works of portraitists working in Britain in the late generation, Fortescue-Brickdale carried forward co-founded the J Lyons & Co catering empire. art – these are some of the highlights. seventeenth and early eighteenth century. the Pre-Raphaelite style into the twentieth Following a conventional art school training at This ambitious swagger portrait is characteristic century. The Châtelaine (French for the mistress the St John’s School of Art, Gluck left London of the flamboyant, large-scale society paintings of a castle) is one of five recorded sculptures by for the artists’ colony in the Lamorna Valley in he was known for. The sitter’s confident stance, Fortescue-Brickdale, and her only polychrome Cornwall during the First World War. There the the tension of his horse (only just controlled plaster. The artist kept it until she died and artist adopted a new name, began dressing in by his groom in the background) and the exhibited it repeatedly, explaining that plaster an androgynous style and rejected masculine or dramatically lit woodland create a sense of could be a noble, permanent material. The feminine prefixes. Gluck is now celebrated as a power and vigour. Painted after Closterman’s subject of the work remains unclear: despite pioneering gender-nonconforming artist. Flora’s return from his tour abroad to Madrid and its French title, the woman’s medieval style Cloak, included in Gluck’s first solo exhibition in Rome between 1698 and 1700, it shows the of dress appears to be Florentine, which is in 1924, is the first work by the artist to enter Tate’s inspiration he drew from the art he saw on the accord with the Tuscan landscapes that are collection. Thought to be the only painting by continent. He is known to have studied the royal painted with gold leaf on the wooden base Gluck of a nude figure, Flora’s Cloak refers to the collection of King Charles II of Spain and this of the sculpture. mythological character Flora, goddess of flowers picture may have been inspired by the court and spring – a symbol of fertility, youth and painter Juan Carreño de Miranda’s The Duke the renewal of life. Eight years later the artist of Pastrana c.1679. started a relationship with the celebrated florist Constance Spry. Spry came to own Flora’s Cloak, which hung above the fireplace in her Kent home and, it is said, her Mayfair shop.

Oil paint on canvas Oil paint on canvas Painted plaster, painted oak, gold leaf, Support: 664 x 410 mm Support: 2400 x 1486 mm semi-precious stones and pearls Purchased with funds provided by the Denise Coates Accepted by HM Government in Lieu of 860 × 240 × 240 mm Foundation on the occasion of the 2018 centenary Inheritance Tax and allocated to Tate 2019 Purchased with assistance from Tate Members 2019 of women gaining the right to vote in Britain 2019 T15483 T15280 T15334

TATE ANNUAL REPORT 2019/20 34 ACQUISITION HIGHLIGHTS CONTENTS

Shirley Baker 1932–2014 Stano Filko 1937–2015 Dorothea Tanning 1910−2012 Nil Yalter born 1938 Manchester 1965 Nothing on Electric Revolving Base and Murmurs 1976 Harem 1980 Rocket – Observatory Tower with Lifts 1967 Pioneering British photographer Shirley Baker Dorothea Tanning was an American painter and Nil Yalter’s Harem 1980 is a black and white was one of the few women practising street This work by the neo-avant-garde artist Stano sculptor based for most of her life in Paris and single-channel video that focuses on the photography in Britain during the post-war Filko is a reflection of the artist’s interest in represented in Tate’s collection by important romantic relationship between two women held era. This spontaneous portrait is part of a the universe, time and existence, expressed surrealist paintings from the 1940s and 50s captive in a harem. The work’s fictional narrative significant collection of ten photographs that through the creation of his own cosmology as well as by her radical soft sculptures from unfolds as a series of fragmented stories, based has been acquired together. They represent and new system of social relations. The vertical the 1960s. Following her 2019 retrospective, on accounts of concubines living in an Ottoman an important body of work, depicting daily rocket-shaped element is made of welded we added to the collection a painting from the Palace. Yalter uses filmic techniques including life in inner-city areas of Manchester between steel and painted in three colours: red, blue mid-1970s, Murmurs 1976. It shows a headless mirrored split-screens, and repeated depictions 1962 and 1968. The artist rarely asked people and white. It is activated by the floor-based female form, sitting cross-legged on a pink of body parts and fragments to blur the to pose, finding that children in particular rectangular metal element with a circular plate crescent moon against a dark sky, to whose boundaries between reality and representation. would often pose themselves spontaneously that rotates. The colours of the rocket reflect shoulder clings a humanised dog who stares Throughout the video, body parts are imbued when she asked to take their picture. It was Filko’s self-styled ‘psycho-phil(k)osophy’, an out at the viewer with piercing eyes. Light with sensual charge and erotic intensity. important for her to capture local architecture approach based on different codes, dimensions from the moon or an external source radiates By focusing on these qualities, the artist in her work and here a dilapidated building and a symbolic colour system. His investigations onto the female’s belly, breasts and arm – emphasises the subversion of the restrictions functions as a backdrop for the photograph. around the individual and society, and the illuminating them with an ethereal, otherworldly and sexual commodification of the female body Baker was aware that large parts of Manchester relationship between space and humanity, glow – and what appear to be faceless foetal within the hierarchical structure of the women’s were soon to be demolished due to ‘slum mirror the historical and political events during forms and strange disconnected limbs emanate quarters. Yalter’s video practice is concerned clearance’ programmes, which would lead the Cold War and the Space Race. from the dark background. As suggested by with the position of marginalised subjects in to the forced relocation of the residents. Tanning’s own writing, the painting can be society and, more broadly, with a conceptual Today, her photographs have gained seen as a depiction of herself cradled within a approach to ethnic, identity and gender issues. international recognition and have become space she imagines for her own memories and important records of British street culture. personal mythologies. Painted steel, metal and electric motor Photograph, gelatin silver print on paper Displayed: 5120 x 1080 x 905 mm Oil paint on canvas Video, black and white, and sound Image: 200 x 292 mm Presented as a partial gift by Roman Zubal, Bratislava Support: 1298 x 973 mm Duration: 45min Purchased with funds provided by the and partial purchase with funds provided by the Russia Purchased with funds provided by Purchased with funds provided by the Middle East Photography Acquisition Committee 2020 and Eastern Europe Acquisitions Committee 2019 the Nicholas Themans Trust 2020 North Africa Acquisitions Committee 2019 P82520 T15372 T15444 T15370

TATE ANNUAL REPORT 2019/20 35 ACQUISITION HIGHLIGHTS CONTENTS

Franz West 1947–2012 Pacita Abad 1946–2004 Vivan Sundaram born 1943 Maud Sulter 1960–2008 Untitled (Model for a Metal Sculpture) 1987 European Mask 1990 Memorial 1993–2014 Les Bijoux IV 2002 from Les Bijoux 2002

Franz West was an Austrian artist who has These extraordinary embroidered tapestries This room-size installation responds to the An artist and poet of Ghanaian and Scottish been incredibly influential on sculptural are part of a series that Pacita Abad began in violent conflict between Hindu and Muslim heritage, from the 1980s Maud Sulter was practice since the late 1970s. Following his the late 1970s. Referred to as trapuntos, they groups in India in the early 1990s. Memorial involved in Black feminist and lesbian circles 2019 retrospective, we have added to the represent artistic responses to the cultural is a commemorative tomb for an unknown in Britain. Her work explores the representation collection his largest work of the 1980s, traditions that Abad encountered in her victim. It takes as its central image a newsprint of Black women and the effacing of their Untitled (Model for a Metal Sculpture), a work peripatetic life and travels throughout Asia, photograph by the photojournalist Hoshi Lal, stories. Such themes are central to this series that premiered in his first institutional exhibition Africa, Latin America and the United States. which depicts a deceased man lying in the of performative self-portraits, the first works in Vienna at the Secession in 1987. Based Resurrecting vernacular traditions of sewing street after the 1993 riots in Mumbai. They were by Sulter to enter Tate’s collection. The artist on the shape of a club held by the classical and quilting, the works were made using large part of a cycle of civil conflict between religious here reimagines herself as Jeanne Duval, Farnese Hercules figure in Naples, it stands on pieces of canvas on to which the artist stitched communities that included the destruction of a Haitian-born actress and dancer, and life a metal base composed of radiating bars. It is forms, creating a three-dimensional effect by the sixteenth-century Babri mosque in Ayodhya companion of Charles Baudelaire. In his poems, constructed from papier-mâché over a metallic stuffing the canvases and transforming their in 1992, a landmark event in contemporary Baudelaire cast Duval as an erotic and exotic core and has been painted gold. The work leans surface with paint, shells, buttons, beads, Indian history. The installation is laid out on an being. In this series of portraits, Sulter aims to backwards at what feels like a precarious angle, mirrors and other objects. Abad dispensed architectural plan that recalls the landscape and give her back control over her representation like West’s other pieces from this time which with stretcher bars and hung these works Mughal geometry of monuments and necropolis and sexual agency. call to mind drunken postures. Untitled (Model directly on the wall or from the ceiling, structures in North India, especially Delhi, where for a Metal Sculpture) is characteristic of West’s transforming the flat surface of a picture the artist lives. The work was presented in the playful approach to sculptural history, and into something more dynamic and multi- exhibition Century City: Art and Culture in the his anarchic and humorous use of cheap dimensional. The portability of the trapunto Modern Metropolis at Tate Modern in 2001. sculptural materials. form resonated with her migrant existence.

Steel, metal trunks, sandstone tiles, marble, glass, wood, Papier-mâché, paint, metal leaf, plaster and steel concrete, ceramic, plaster, iron nails, neon, photographs, Object: 3840 x 1500 x 430 mm Acrylic paint, silkscreen and thread on canvas gelatin silver print and inkjet prints on paper Purchased with funds provided by the European support: 2607 x 1827 mm Overall display dimensions variable 9 photographs, colour, Polaroid, on paper Collection Circle, George Economou, Lonti Ebers Purchased with funds provided by the Purchased with funds provided by the South Asia Acquisitions 828 x 560 mm each (framed) and Agnès and Edward Lee Acquisition Fund 2019 Asia Pacific Acquisitions Committee 2019 Committee, Tate International Council and Tate Patrons 2019 Presented by Tate Patrons 2020 T15484 T15297 T15329 P82550

TATE ANNUAL REPORT 2019/20 36 ACQUISITION HIGHLIGHTS CONTENTS

Kemang Wa Lehulere born 1984 Vincent Fecteau born 1969 Mike Nelson born 1967 Lisa Brice born 1968 I cut my skin to liberate the splinter: Act 1 2017 Untitled 2018 The Asset Strippers (Elephant) 2019 Untitled 2019

This work is part of a larger installation titled Vincent Fecteau, based in San Francisco, This brilliant blue lathe on cast concrete slabs Lisa Brice was the subject of an Art Now I cut my skin to liberate the splinter 2017 which makes handcrafted sculptures from everyday is one of the sculptural assemblages that exhibition at Tate Britain in 2018. Her paintings addresses South African histories, in particular materials, often incorporating these into formed Mike Nelson’s response to the Tate of unidentified women borrow from a range of the artist’s experiences growing up during structures made of foamcore or papier mâché. Britain Commission for the Duveen Galleries art historical references, particularly depictions apartheid. Themes such as history, memory, Untitled 2018 is papier-mâché sculpture, painted in 2019. The compositional treatment of the of the female body by male artists such as home and exile are explored through the artist’s with watercolour and acrylic, with a jagged parts, together with the monochromatic Pablo Picasso, Edgar Degas and Édouard Manet, signature use of found objects. The work can be shaped patch of tulle hanging from one of its colour scheme, is reminiscent of British subverting them to create portraits that express activated by a performance in which elements sides. The planes rise and curve to edges that modernist sculpture, in particular the industrial emancipation and empowerment. Here the of the sculptures are used as instruments. Act are sometimes straight and sometimes twisted. assemblages of Anthony Caro. Significantly, figure is both subject and artist, indicated by I comprises a triangular form constructed out Though not based on any existing object or however, Nelson’s sculpture is composed the easel at her feet and the paintbrushes in her of salvaged school desks and an acrylic tube image, Vincent Fecteau’s sculpture might evoke of found objects. Nelson scoured the online hand, though the painting is not a self-portrait connecting a transparent rectangular tank a futuristic mask or a shell whose exterior has auctions of asset strippers to amass a collection as such. The dark-haired woman, naked other with a steel bath filled with water. Glass bottles been eroded, leaving its cavities visible. of remnants of Britain’s manufacturing industry than for a pair of blue stockings, confronts containing sand and blue paper scrolls are which points to the decline of that industry, herself in the mirror, her blank stare reflected arranged in front of the bath. When activated its infrastructure and the welfare state. He back at the viewer. The use of cobalt blue, the piece references the pressurised water described the works as marking ‘the ends of a colour which has multiple associations for system used in constructing the Giza Pyramids. an era, the cannibalising of all we have left – the artist, is characteristic of Brice’s work. In explaining the title, Wa Lehulere has said a sort of self-consumption, an eating away that ‘to cut oneself to liberate that which hurts of ourselves.’ is a poetic act towards generosity and [a] desire for freedom’. Wooden school desks, 96 glass bottles with cork tops, steel bath, acrylic tank, acrylic pipe, water, moulded plastic valves, metal flutes, sand, paper, and ribbon Papier mâché, tulle, watercolour and acrylic paint Metal lathe, metal trestles, cast concrete tiles, Overall display dimensions variable Object: 760 x 610 x 660 mm industrial machinery parts and wooden timbers Gouache and synthetic tempera on canvas Purchased with funds provided by the Africa Acquisition Presented by the Tate Americas Foundation, courtesy Object: 2705 x 6010 x 1200 mm Support: 2000 x 950 x 30 mm Committee 2019 of the North American Acquisitions Committee 2019 Purchased 2019 Presented by Harry and Lana David 2019 T15274 T15342 T15413 T15546

TATE ANNUAL REPORT 2019/20 37 ACQUISITION HIGHLIGHTS CONTENTS

ARCHIVE

Tate holds the largest archive of British Ithell Colquhoun 1906–1988 Guy Brett born 1942 art related material in the world. Every year we add items to this collection. This archive collection, formerly cared for by Guy Brett is a renowned art critic and curator the National Trust, comprises approximately with an international outlook, based in London. 5,000 preparatory sketches, drawings, pages He has written extensively and curated many from sketchbooks, designs for book covers and exhibitions examining the boundaries between other commercial work, theatre designs and the ‘global and the local’, and the coexistence experimental surrealist artworks covering the between artists and their works. He is artist’s career, 1930s–80s. considered to be the key art critic responsible Margaret Ithell Colquhoun became interested for the wider understanding of the work and in esoteric literature and occult sects while practice of Latin American artists, as well as studying at the Slade School of Fine Art in for the increase in interest in kinetic art of London between 1927 and 1931. During the the 1960s in both Europe and Latin America. early 1930s, when she took a studio in Paris, Guy Brett’s papers closely reflect the range she became involved in surrealism. In 1936 of his activity, with files of correspondence she participated in the London International and documentary material relating to artists Surrealist Exhibition, after which she exaggerated covering a wide geographical and generational the anthropomorphic qualities of her botanical spread, as well as project files for his own works in line with Salvador Dalí’s illusionistic writing and curatorial projects. paintings, making her own contribution to the capturing of psychic space in painting. Colquhoun moved to Cornwall in the late 1940s, where her interest in automatism and the esoteric became combined.

Presented by the National Trust, 2019 Presented by Alejandra Altamirano and Guy Brett 2019 TGA 201913 TGA 20208

TATE ANNUAL REPORT 2019/20 38 OUR SUPPORTERS

Theaster Gates: Amalgam at Tate Liverpool OUR SUPPORTERS CONTENTS

INDIVIDUAL, TRUST AND PUBLIC FUNDING

We are grateful for the generosity of We acknowledge the generosity of the following of new and existing supporters. Thanks individuals, public bodies, foundations and exhibition supporters: AKO Foundation towards to Elizabeth and Rory Brooks, the Brooks corporate supporters both within the UK Olafur Eliasson: In real life, Terra Foundation for International Fellowship continues to connect American Art for Nam June Paik and the ongoing practitioners globally, enabling knowledge and internationally who provide essential New Perspectives on American Art series, Petr exchange between Fellows and Tate colleagues. support and advocacy to enable us to Aven for Natalia Goncharova and John Studzinski Tate Collective has continued to move from deliver our mission. We also extend our for Dora Maar. Support for Steve McQueen: strength-to-strength, benefitting from the thanks to the Tate Americas Foundation Year 3 came from Joseph and Abigail Baratta, committed support of Jean and Melanie Salata, and De Ying Foundation, with additional Garfield Weston Foundation and the Rothschild and Tate Canada Foundation for their support from Dana and Albert R. Broccoli Foundation. Support for conservation work international fundraising. Charitable Foundation, The Garcia Family included a grant received from The Charlotte Foundation and the Wagner Foundation. Bonham-Carter Charitable Trust for vital Groups of supporters also joined Exhibition treatment to restore the Juno fancy dress Supporters Circles, providing additional funding costume worn by Barbara Hepworth to the for Frank Bowling, British Baroque: Power and 1956 Penwith Arts Ball. Illusion, and Aubrey Beardsley at Tate Britain; This year we entered the final year of the and Olafur Eliasson: In real life, Andy Warhol and ARTIST ROOMS on Tour programme, generously Steve McQueen at Tate Modern. supported by Arts Council England (ACE) and Continued support from a growing Art Now Art Fund. ACE also continue to provide much- Supporters Circle has enabled the delivery needed funds towards the British Art Network, of an engaging programme of exhibitions at alongside the partnership and support from the forefront of contemporary art in Britain, Paul Mellon Centre. We also entered the final including exhibitions from France-Lise McGurn, year of support from National Lottery Heritage Sophia Al-Maria and Joanna Piotrowska at Fund towards the Tate St Ives Legacy, Aspire: Tate Britain. National Network for Constable Studies and In Between Art Film have ensured that Tate The Ferryman projects. Film continues to thrive, generously supporting The Tate Liverpool Commissioning Circle the programme that expands the dialogue supported production of two exhibitions: between art and moving image. Sol Calero: El Autobús and Theaster Gates: The major undertaking of annual Amalgam. Tate Liverpool’s partnerships commissions at both Tate Modern and Tate with Birmingham City University, The City Britain have been strengthened by the Tate of Liverpool College, Edge Hill University, Britain Winter Commission Supporters Circle Liverpool Hope University, Liverpool John for Anne Hardy’s transformation of the Millbank Moores University and the University of steps and Sikkema Jenkins & Co.’s generous Liverpool enabled the gallery to deliver support towards the Hyundai Commission: exhibitions, research, and a free public and Kara Walker: Fons Americanus at Tate Modern. learning programme. We are also grateful for Tate’s Learning programme, including the the ongoing support of Liverpool City Council Schools and Teachers and Special Educational and Patrons. Needs and Disability programmes, has been generously supported this year by a number Andy Warhol at Tate Modern

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ACQUISITION SUPPORT

Tate’s six Acquisitions Committees continue from George Economou, Lonti Ebers, and the to provide invaluable support for major Edward and Agnès Lee Acquisition Fund, Tate acquisitions of important works of art. In secured Franz West’s iconic work Untitled 2019/20, the Committees comprised 189 (Model for a Metal Sculpture) 1987, following its active supporters, hailing from 48 countries, prominent inclusion in last year’s Tate Modern and together enabled 121 works from around retrospective. The European Collection Circle the world to enter the national collection. now comprises eleven supporters and is chaired We hugely appreciated the generosity of a by Edward Lee, building on his commitment number of individual Acquisition Committee to Tate through the Edward and Agnès Lee supporters, who generously gave additional Acquisition Fund. donations or gifted works of art to support The Joe and Marie Donnelly Acquisition Fund, Tate’s collection. We also acknowledge the Tate launched in 2016, continues in its ten-year Americas Foundation North American and Latin commitment towards key acquisitions by Tate American Acquisitions Committees’ support of of contemporary works of art by European, Works by Helen Frankenthaler shown at Tate Modern acquisitions from the Americas. British and American artists. This year, the The Middle East and North Africa Fund enabled Tate to acquire Silke Otto-Knapp’s Acquisitions Committee (MENAAC) celebrated A series of images following one from the other. The Helen Frankenthaler Foundation generously Mignano; Adrian Milbus; the Ronald Moody its tenth anniversary this year. We especially Eine aufeinander folgende Reihe von Bildern presented Helen Frankenthaler’s Vessel 1961, a Trust; the Mottahedan family; National Heritage acknowledge and thank Maryam Eisler and 2018. We warmly acknowledge Joe and Marie spectacular example of the artist’s work created Memorial Fund; National Trust; New Carlsberg Maya Rasamny, who stepped down as founding Donnelly for their continued dedication to during an important early stage of her career Foundation; Outset Contemporary Art Fund; Co-Chairs of MENAAC, for their passionate supporting this initiative. and the first painting by the artist to enter Silvia Paz-Illobre; Qantas Foundation; Olivia, commitment during their tenure. We were The Frieze Tate Fund supported by Tate’s collection. The work went on immediate Sofia & Thea Rasini; the Rea family; Erica Roberts; delighted to welcome Maria Sukkar and Faisal Endeavor continued this year, enabling Tate to display at Tate Modern alongside four other Emmanuel Roman; Anna Salamone; Anders and Tamer as new Co-Chairs. In addition, we remain acquire works by Jagoda Buić, Marc Camille paintings generously on loan from the Helen Yukiko Schroeder; Leo Shih; V-A-C Foundation; hugely grateful to Mercedes Vilardell, Chair of Chaimowicz, Paulo Nazareth and Patrick Staff. Frankenthaler Foundation. Mercedes Vilardell March; Michael Werner; Jane the Africa Acquisitions Committee; Alan Lau It was the first time that works were acquired A number of individuals and private and and Michael Wilson; Juan Yarur Torres; Anita and Fernando Zobel de Ayala, Co-Chairs of the from both Frieze London and Frieze Masters. charitable organisations provided critical and Poju Zabludowicz; Roman Zubal and those Asia-Pacific Acquisitions Committee; Elizabeth Dimitris Daskalopoulos generously continued his support for Tate’s collection, through who wish to remain anonymous, among others. Brooks, Chair of the Photography Acquisitions critical support of the post of The Daskalopoulos donations toward acquisitions, gifts of works Tate also continues to benefit from generous Committee; Dilyara Allahkverdova and Peter Senior Curator, International Art (Africa, Asia of art, and ongoing support for key areas gifts of works of art from artists and artist’s Kulloi, Co-Chairs of the Russia and Eastern & Middle East). This support continued to of collection building. In addition to those estates. This year, we are especially grateful Europe Acquisitions Committee; and Lekha underpin Tate’s ability to realise key research, highlighted above, we are especially grateful to: the Estate of Pacita Abad; George Condo; Poddar and Rajeeb Samdani, Co-Chairs of the acquisitions and exhibitions of art from Africa, to: a/political foundation; Alireza Abrishamchi; Natalie Dower; Juan Manuel Echavarría and South Asia Acquisitions Committee, for their Asia and the Middle East. Art Fund; ArteBA; Inna Bazhenova and In Fundación Puntos de Encuentro; Nan Goldin; continued leadership. With generous support provided by the Artibus Foundation; Leanne and Caitlin Tamara Henderson; Andy Holden; the Estate This marked a successful third year of the Estate of Mollie Winifred Vickers, Art Fund (with Bennett; Bloomberg Philanthropies; José Luis of Clyde Hopkins; Kim Ku-lim; Duane Linklater; European Collection Circle, an initiative in which a contribution from the Wolfson Foundation), Blondet; Ivor Braka; Jamal Butt; Denise Coates Steve McQueen; Mike Nelson; Martin Parr; supporters enable collection-transforming Tate Members and Tate International Council, Foundation; Contemporary Art Society; Paul Stephen Prina; Taryn Simon; Erika Verzutti; acquisitions of modern and contemporary art by this year Tate was able to acquire Due Porte Cumming-Benson; Harry and Lana David; Ford Kemang Wa Lehulere; Rachel Whiteread; the leading artists from Western Europe, including 2015, a major work by Rachel Whiteread, which Foundation; Eric and Louise Franck; Candida family of Vladimir Yankilevsky with support Britain. This past year, thanks to the European had featured prominently in the Tate Britain Gertler; Robert Hiscox; Yongsoo Huh; Catriona from Alexander Girda; and Marie Yates, Collection Circle with additional support Rachel Whiteread exhibition. Jeffries; Jack Kirkland; José Luis Lorenzo; Helen among others.

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LEGACIES

Legacy gifts are critically important to Tate, Tate remains grateful for the invaluable benefit making a lasting contribution to all areas of to the wider heritage sector provided through our work, both now and for future generations. HM Government’s Acceptance in Lieu scheme, The 1897 Circle, Tate’s honorary Legacy Club, administered by Arts Council England. This year, welcomed eight new members this year, Tate brought into the collection a number of bringing total enrolment to seventy-three important artworks and archives through the members. We are grateful to everyone who has scheme, including: Peter Lanyon’s Clevedon pledged a future bequest to Tate and to our Bandstand 1964, from the Estate of Sheila Legacy Ambassadors, David and Jenny Tate, Lanyon; Giacomo Amiconi’s Frederick, Prince for their continued dedication. of Wales 1735 and William, Duke of Cumberland Legacy gifts of art to the national collection 1735; John Closterman’s Portrait of a Gentleman this year included: Michael Ayrton’s The c.1700–2; the Bruce Lacey Archive and a Evolution of the Minotaur 1963–4 and The collection of 30 black and white photographs Landscape of Cain 1958, John Milne’s Credo 1974 by Bill Brandt, all generously bequeathed and Les Baux 1959 and Jacob Epstein’s drawing anonymously through the scheme. of Jacob and the Angel c.1940 from the Estate of We were also grateful to have received several Andrew Burt and Meredith Frampton’s Trial and monetary legacy gifts, helping to secure and Error 1939 from the Estate of Miss J.B Dickins, strengthen Tate’s long-term future, including among others. Tate especially remembers generous gifts from The Estate of Denise the longstanding support of the late Karsten Antenen, The Estate of Mrs AF Frohlich, Schubert, who generously presented a major The Estate of Mr Kenneth McGowan and work by Tess Jaray, Garden of Anna 1966, shortly The Estate of Mr Michael Stoddart. before his passing last year.

Visitors to a Legacy event at Tate Britain

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TATE PATRONS

Tate Patrons continue to provide crucial support across our programmes, including Olafur Eliasson: In real life, as well as exhibitions highlighting important yet overlooked practices in art history, such as Dora Maar. The group also supported a number of major conservation projects, such as pioneering research into plastic conservation using an installation by Zoe Leonard as a case study. It also helped enliven the galleries through support of the Performance Activation Fund, which delivers programming of performance works across our galleries. In addition, Patrons contributed toward the acquisition of key works by modern and contemporary artists, including Marguerite Humeau, France-Lise McGurn and Vivan Sundaram. Patrons continued their support of Tate Exchange for the fourth year, which was instrumental in involving the wider community with ideas on society through art, while the continued contribution to Tate Collective saw large numbers of young visitors enjoy the galleries.

A performance of Nedko Solakov’s A Life (Black and White) 1998–ongoing at Tate Modern

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INTERNATIONAL COUNCIL

The International Council counts 132 members from 32 countries, 13 of whom were welcomed to the Council this year from Australia, India, Russia, South Korea, Taiwan and Turkey among other countries. Through the Council’s generous support, Tate was able to make five new acquisitions, including Vivian Suter’s Nisyros (Vivian’s Bed) 2016–17. The Council also provided significant contributions to the Steve McQueen, Andy Warhol and British Baroque: Power and Illusion exhibitions as well as the Performance Activation Fund.

Steve M cQueen at Tate Modern

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CORPORATE SUPPORT

We continue to be grateful for the generosity Uniqlo has supported the monthly Uniqlo Tate partnership, continues to be displayed at of our Corporate Partners and specifically Lates since 2016 with 365,000 visitors to date. Tate Modern. those who have made significant long-term This programme of art, music, workshops and Tate Modern presented Natalia Goncharova, commitments to support Tate. The breadth and topical conversations has become a vibrant and the first retrospective of her work in the diversity of this corporate support enables Tate important part of the Tate Modern programme. UK and our first partnered exhibition with to achieve our creative vision and confidently In March 2020 we celebrated the opening LetterOne. We are grateful to C C Land for our plan for the future. of the Andy Warhol exhibition, which marked first partnership together and their generous EY’s long-standing and committed the eighth exhibition Bank of America has support of The C C Land Exhibition: Pierre Bonnard Partnership reached its seventh consecutive supported at Tate since 2008. Online content – The Colour of Memory at Tate Modern. year in 2019 with their support centring around was created to share with our audiences due This was also the second year of our The EY Exhibition: Van Gogh and Britain at Tate to the early closure of the exhibition due to partnership with BNP Paribas, who have Britain. In addition, EY generously provided coronavirus. generously supported the Turner Prize at advisory support for Tate’s Collection Care BMW have supported Tate’s ambitious Tate Britain. Sotheby’s also supported the Tate department to streamline workflows. programme of live and performance art Britain Commission for the tenth time this year Hyundai Motor’s twelve-year partnership since 2012, including the annual BMW Tate with the Tate Britain Commission: Mike Nelson continues to give contemporary artists the Live Exhibition, launched in 2017. A one-off welcoming more than a million visitors. Tate annual opportunity to realise a site-specific performance by Faustin Linyekula was shared also welcomed White & Case as a new Corporate installation within Tate Modern’s Turbine Hall. online as the latest iteration of the annual Partner, with their support of British Baroque: This year the Hyundai Commission: Kara Walker exhibition, BMW Tate Live, which was due to Power and Illusion at Tate Britain. saw over 2.1 million visitors. open in March 2020. We also thank Audemars Piguet for their Hyundai Motor also supports the Hyundai Tate This year marked a new iteration of Deutsche support of Tate’s conservation programmes, Research Centre: Transnational. In the first year of Bank and Tate’s long-term Partnership, with Christie’s for their long-term support, Tuplin Fine launching, the centre has delivered an extensive Tate curating an exhibition of sculptures from Arts for their in-kind support of this year’s Tate programme of symposia, events and research Tate’s collection for Deutsche Bank’s gallery in Britain Commission: Mike Nelson and Laurent- outputs, contributing to the reframing of art Berlin, PalaisPopulaire. Objects of Wonder: British Perrier for their continued support. histories for the twenty-first century across Sculpture from the Tate Collection 1950 – Present In addition to Tate’s twenty-one Corporate Tate’s research and curatorial teams, including opened in January 2019 to critical acclaim and Partners, Tate is grateful to our Corporate in the Nam June Paik exhibition at Tate Modern. ran for a period of four months. Members who, alongside our events clients, Having supported Tate since 2000, Bloomberg Tate, the Museum of Contemporary Art hosted 126 events across our galleries, and we Philanthropies continued their generous Australia (MCA) and Qantas are partners in an are thankful for their continued commitment to support of digital interpretation enabling international joint acquisition programme for supporting Tate. the continuation of the Bloomberg Connects contemporary Australian art, made possible by programme both in our galleries and online. a corporate gift from the Qantas Foundation Alongside this, Bloomberg Philanthropies also in 2015. Gordon Bennett’s Possession Island supported Steve McQueen’s Year 3. (Abstraction) 1991, acquired through the

British Baroque: Power and Illusion at Tate Britain

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MEMBERS OF COUNCILS AND MEMBERS OF TATE’S CONNECTED COMMITTEES OF THE BOARD OF CHARITIES, SUBSIDIARIES AND TRUSTEES OF THE TATE GALLERY ADVISORY GROUPS

As of 31 March 2020 TATE BRITAIN ADVISORY TATE FOUNDATION TATE INTERNATIONAL TATE MEMBERS COUNCIL COUNCIL TRUSTEES AND COUNCIL ADVISORY BOARD Sean Burns AUDIT COMMITTEE Jane Buttigieg HONORARY MEMBERS Christina Chandris Lorraine Candy John Booth Dr David Dibosa Dr Maria Balshaw, CBE* Richard Chang (Vice Chair) Roger Hiorns Laurie Fitch Dame Jayne-Anne Gadhia, DBE Abigail Baratta Füsun Eczacıbaşı Aynsley Jardin Dame Jayne-Anne Gadhia, DBE Professor Mark Hallett Joseph P Baratta II* Candida Gertler, OBE Suwin Lee (Chair) Gabrielle Hase Victoria Barnsley, OBE Andreas Kurtz Anna Lowe Raif Jacobs Lubaina Himid, CBE John Botts, CBE* Catherine Lagrange Amanda Pinto, QC Charles Roxburgh Justin O’Shaughessy Mrs James Brice Cav. Simon Mordant AO. Neil Scott Midge Palley The Lord Browne of Madingley, Takeo Obayashi Nick Smith COLLECTION COMMITTEE Katie Razzall FRS, FREng Catherine Petitgas (Chair) Emma Thompson John Akomfrah, CBE (Chair) Dame Seona Reid, DBE (Chair) Susan Burns Uli Sigg Matteo Vallone John Booth Dr Andrew Stephenson Christina Chandris Paulo Vieira Steve Wills Professor Briony Fer Jane Wilson Melanie Clore Stephen Witherford (Chair) David Taylor Sir Howard Davies TATE PATRONS EXECUTIVE Jane Wilson TATE LIVERPOOL ADVISORY Dame Vivien Duffield, DBE COMMITTEE TATE ENTERPRISES LTD COUNCIL George Economou Francesca Bellini Joseph DIRECTORS ETHICS COMMITTEE Dr David Bell Edward Eisler* Jacques Boissonnas Duncan Ackery John Akomfrah, CBE Elaine Bowker Maryam Eisler Natalia Bondarenko Carmel Allen Tim Davie, CBE Cathy Elliott Mala Gaonkar* Professor John Gruzelier Hamish Anderson Dame Moya Greene, DBE (Chair) Paul Grover Sasan Ghandehari Jill Hackel Zarzycki Sarah Austin Lord Neuberger Emma King Noam Gottesman Jonathan Lellouche Vicky Cheetham Dame Seona Reid, DBE Jenni Lomax, OBE Oliver Haarmann Suling Mead (Chair) David Critchon-Miller Jules Sher, QC Cllr Wendy Simon Peter Kellner Aurore Ogden Claire Gylphé James Timpson, OBE (Chair) Catherine Lagrange Alexander V. Petalas Gabrielle Hase FINANCE AND OPERATIONS Emma Thompson The Hon Mrs Rita McAulay Maria Sukkar Anna Rigby COMMITTEE Jane Wilson Ronald McAulay James Timpson, OBE (Chair) Lionel Barber Scott Mead* TATE AMERICAS Stephen Wingfield John Booth TATE MODERN ADVISORY Mandy Moross FOUNDATION TRUSTEES David Young Laurie Fitch COUNCIL Elisabeth Murdoch Abigail Baratta Dame Jayne-Anne Gadhia, DBE HRH Princess Alia Al-Senussi Lord Myners of Truro, CBE Eugenia Braniff (Chair) Natalie Bell Marilyn Ofer Paul Britton Raif Jacobs Lorraine Candy Simon Palley* Estrellita Brodsky Charles Roxburg Tim Davie, CBE (Chair) Franck Petitgas (President)* Tiqui Atencio Demirdjian* Lyn Goleby John Porter Wendy Fisher FREEDOM OF INFORMATION Hew Locke Sir John Ritblat Glenn Fuhrman APPEALS COMMITTEE Ruth Mackenzie, CBE Lady Ritblat Pamela Joyner (Chair) Dame Jayne-Anne Gadhia, DBE Elvira Dyangani Ose Emmanuel Roman* Gregory R Miller* (Chair) Peter Williams Roland Rudd (Chair)* Bob Rennie Stephen Witherford Dame Theresa Sackler, DBE Jay Rivlin INVESTMENT COMMITTEE The Rt Hon Sir Timothy Erica Roberts* John Booth TATE ST IVES ADVISORY Sainsbury Kimberly R Shirley Simon Palley (Chair) COUNCIL Sir Anthony Salz* Jay Smith Malcolm Bell Peter Simon John J Studzinski, CBE NOMINATIONS AND Cllr Bob Egerton Jon Snow Christen Wilson* GOVERNANCE COMMITTEE Emmie Kell Lord Stevenson of Coddenham, *Ex-officio John Akomfrah, CBE Cllr Andrew Mitchell CBE* Lionel Barber (Chair) Cllr Richard Robinson, MBE Mercedes Stoutzker TATE CANADA FOUNDATION Dame Moya Greene, DBE Sir Anthony Salz (Chair) John J Studzinski, CBE Timothy Fitzsimmons Dame Seona Reid, DBE Neil Scott The late Ian Taylor Robert Sobey Tamzyn Smith Lance Uggla* REMUNERATION Cllr Joan Symons Viktor Vekselberg COMMITTEE Michael Uva Sir David Verey, CBE Lionel Barber (Chair) Anita Zabludowicz, OBE Tim Davie * Executive Trustee Dame Jayne-Anne Gadhia, DBE Dame Moya Greene, DBE James Timpson, OBE

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DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS

CORPORATE SUPPORTERS TATE BRITAIN AND TATE Cockayne - Grants for the Arts Wang Guangyi Scott and Suling Mead Matthew Slotover and Tate would like to thank all the AGC Equity Partners MODERN BENEFACTORS Paul Cooke Alexandra and Guy Halamish Paul Mellon Centre for Studies in Emily King Audemars Piguet 303 Gallery Pilar Corrias The Hayden Family Foundation British Art Douglas So individuals, trusts, foundations Bank of America Alireza Abrishamchi Paul Cumming-Benson Robert Hiscox Helen Mignano Southard Reid Bloomberg LP AKO Foundation Danish Arts Foundation The Hitchin Family Barry Miles Lord Stevenson of Coddenham, and organisations who have so BMW Alan Cristea Gallery Danish Ministry for Culture The Estate of Clyde Hopkins Sami and Hala Mnaymneh CBE BNP Paribas The Estate of Edward Allington and The Embassy of Denmark, Tierney Horne Anthony and Deirdre Montagu Emile Stipp generously supported our programmes C C Land Princess Alia Al-Senussi London Alexandra Howell Ronald Moody Trust John J. Studzinski, CBE and exhibitions, the collection and Christie’s The Ampersand Foundation Dimitris Daskalopoulos AC Hudgins Mori Building Co., Ltd. Tate 1897 Circle Deutsche Bank AG Andrea Rosen Gallery Harry and Lana David Michael Hue-Williams Mottahedan Family Tate Africa Acquisitions capital projects by providing financial EY Siah Armajani DCMS/Wolfson Museums and Yongsoo Huh Philip Mould & Company Committee HTC VIVE Art Fund Galleries Improvement Fund Huo Family Foundation (UK) Elisabeth Murdoch Tate Americas Foundation support, giving their time and expertise Hyundai Motor Artist Rooms Foundation DCMS-Sponsored Museums Limited National Heritage Memorial Tate Asia Pactific Acquisitions Laurent Perrier Arts and Humanities Research Infrastructure Fund Lyndsey Ingram Ltd Fund Committee or acting as ambassadors and LetterOne Council The Roger De Haan Charitable Tim Jefferies and Hamiltons The National Lottery Heritage Tate European Collection Circle Qantas Arts Council England Trust Gallery Fund Tate International Council advocates for our work. Sotheby’s Charles Asprey De Ying Foundation Catriona Jeffries and Duane The Paul Neagu Estate (UK) Tate Latin American Acquisitions Uniqlo Mr Petr Aven Ago Demirdjian and Tiqui Linklater Mike Nelson Committee White & Case Joseph T. Baio Atencio Demirdjian Pamela J Joyner and Alfred J New Carlsberg Foundation Tate Members Veronica and Lars Bane Department for Digital, Culture, Giuffrida Hélène Nguyen-Ban Tate Middle East and North CORPORATE MEMBERS Foundation Media and Sports Peter and Maria Kellner Hermann Nitsch and Nitsch Africa Acquisitions Committee Adobe Joseph and Abigail Baratta The Estate of Miss J.B Dickins Kettle’s Yard Foundation Tate North American Advertising Producers Lionel Barber Sir Harry and Lady Djanogly Jack Kirkland Maja Oeri Acquisitions Committee Association Beckett-Fonden Joe and Marie Donnelly James and Clare Kirkman Eyal Ofer Family Foundation Tate Photography Acquisitions Allford Hall Monaghan Morris Corinne Bellow Charity Jeanne Donovan Fisher KK Art Limited Ordnance Survey Committee Apax Partners LLP Blavatnik Family Foundation Natalie Dower Madeleine Kleinwort Outset Contemporary Art Fund Tate Russia and Eastern Europe BCS Consulting Bloomberg Philanthropies Peter Dubens David Knaus Maureen Paley Acquisitions Committee Clifford Chance LLP Harry and Fabiana Bond Lonti Ebers Samuel H. Kress Foundation Simon and Midge Palley Tate South Asia Acquisitions Deutsche Bank UK The Charlotte Bonham-Carter George Economou David Kronn William Palmer Committee Finsbury Charitable Trust Stefan Edlis and Gael Neeson Peter Kulloi Irene Panagopoulos The Taylor Family Foundation Hakluyt & Company Lauren and Mark Booth Maryam and Edward Eisler Catherine Lagrange Stephen and Yana Peel Terra Foundation for American HSBC Ivor Braka John Ellerman Foundation Mr Pierre Lagrange and Daniel and Elizabeth Peltz Art Imperial College Healthcare The William Brake Charitable Endeavor Mr Ebs Burnough Catherine Petitgas Thomas Dane Gallery Charity Trust English Partnerships Pierre Lagrange Franck Petitgas Sandra Thompson Investec Wealth and Investment The Deborah Loeb Brice European Union Research and The Estate of Sheila Lanyon PF Charitable Trust Imants Tillers and Michael JATO Dynamics Foundation Innovation Enikö Leányvári The Stanley Picker Trust Nelson Jagamara Jefferies International Limited Dana and Albert R. Broccoli The Fidelity UK Foundation Raymond J Learsey Patricia Phelps de Cisneros Russell Tovey Linklaters LLP Charitable Foundation Mrs Donald B. Fisher Agnès and Edward Lee The Porter Foundation Julie-Anne Uggla Loyens & Loeff Rory and Elizabeth Brooks Fluxus Art Projects Acquisition Fund Serena Prest Fund Lance Uggla Macfarlanes LLP Foundation Ford Foundation Kiyoko Lerner Carla Rapoport Dr Suzanne Ullman McDermott Will & Emery Gavin Brown, Gavin Brown’s Galleria Franco Noero The Linbury Trust Rea Family Viktor Vekselberg Morgan Stanley enterprise, New York The Estate of Thomas The Linbury Trust and Elizabeth Redleaf Sir David and Lady Verey NATIVE LAND (on behalf of The Lord Browne of Madingley, Frangenberg The Monument Trust Bob Rennie Marie-Louise von Motesiczky Bankside Yards) FRS, FREng Helen Frankenthaler Foundation James Lindon Chris Rokos Charitable Trust Oliver Wyman Daniel Buchholz & Christopher Glenn Fuhrman London Borough of Southwark The Roman Family Wagner Foundation Rothschild & Co Müller, Galerie Buchholz, Mala Gaonkar The London Community Rothschild Foundation Sir Siegmund Warburg’s Siegel + Gale Berlin/Cologne The Garcia Family Foundation Foundation Roland Rudd Voluntary Settlement Sky UK Beatrice Bulgari | In Between The Gatsby Charitable London Development Agency Lily Safra Garfield Weston Foundation Slaughter and May Art Film Foundation LUMA Foundation Jean and Melanie Salata Nina and Graham Williams Stanhope PLC Andrew Burt Miles Gerstein and Susan Davis Allison and Howard W. Lutnick Jillian Samant Jane and Michael Wilson T. Rowe Price Jamal Butt J Paul Getty Jr Charitable Trust The Manton Foundation Mrs Coral Samuel, CBE Manuela and Iwan Wirth The Up Group The Estate of Lady Caro The Ghandehari Foundation Marian Goodman Gallery Carolin Scharpff-Striebich The Wolfson Foundation Weil, Gotshal & Manges (Sheila Girling) Thomas Gibson in memory of Donald B. Marron Stephan Schmidheiny Family / The Lord Leonard and Lady (London) LLP John and Michael Chandris, and Anthea Gibson Matt’s Gallery Daros Collection Estelle Wolfson Foundation Zurich Insurance UK Christina Chandris Emma and Fred Goltz Dóra Maurer Anders and Yukiko Schroeder Zhang Xiaogang James Chanos Nicholas and Judith Goodison’s The Mayor Gallery Karsten Schubert and those who wish to remain Pierre Chen, Yageo Foundation, Charitable Settlement Ronald and Rita McAulay Helen and Charles Schwab anonymous Taiwan Lydia and Manfred Gorvy The Estate of Mr Kenneth Jake and Hélène Marie Shafran Clore Duffield Foundation The Granville-Grossman Bequest McGowan Gene Sherman Denise Coates Foundation Timothy Griffith The Mead Family Foundation Sikkema Jenkins & Co.

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DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS

PLATINUM PATRONS Andrée Shore GOLD PATRONS SILVER PATRONS Kathleen Crook and James Mr Haydn John Susan Prevezer, QC Eric Abraham Maria and Malek Sukkar Jose Alcantara Geoffrey and Julian Agnew Penturn Mr Michael Johnson Mr and Mrs Ryan Prince Ghazwa Mayassi Abu-Suud Ann Tang Chiu Ms Mila Askarova Charitable Trust Richard Cyzer Mike Jones Ivetta Rabinovich Maria Adonyeva Pierre Tollis and Alexandra Guya Bertoni Sharis Alexandrian Fiona Davies Jay Jopling Patricia Ranken Mr Shane Akeroyd Mollof Louise and Charlie Bracken Ryan Allen and Caleb Kramer Sir Howard Davies Mrs Brenda Josephs Carla Rapoport Basil Alkazzi Annie Vartivarian Liza Cawthorn Mrs Malgosia Alterman Sir Roger and Lady De Haan Tracey Josephs Mrs Phyllis Rapp James Arnell Saffron Wace Angela Choon The Anson Charitable Trust Elisabeth De Kergorlay Mr Joseph Kaempfer Lady Ritblat Celia and Edward Atkin, CBE Michael and Jane Wilson Beth and Michele Colocci Toby and Kate Anstruther Giles de la Mare Andrew Kalman David Rocklin The Estate of Francis Bacon Lady Wolfson of Marylebone Harry G David Mr and Mrs Zeev Aram Mr Damon and The Hon Mrs Ghislaine Kane Frankie Rossi Lars Bane Chizuko Yashiro Ms Miel de Botton Hannah Armstrong de Laszlo Ivan Katzen Mr David V Rouch Alex Beard Brian T K Yim Mr Frank Destribats Shalni Arora Jean-Annet de Saint Rapt Dr Martin Kenig Mr James Roundell Beecroft Charitable Trust Meng Zhou Mrs Maryam Eisler Mrs Charlotte Artus Anne Chantal Defay Sheridan Mr David Ker Mr Charles Roxburgh Francesca Bellini Joseph and Jessica Zirinis Jennifer Ellis Aspect Charitable Trust Pier-Luigi del Renzio Mr and Mrs Simon Keswick Hakon Runer and Ulrike Allan Hennings and those who wish to remain Sarah Fischel Tracy Barakat Paula Diaz Mrs Mae Khouri Schwarz-Runer Jacques Boissonnas anonymous Giovanna Gromo Peter Barham Simon C Dickinson Ltd David Killick Mr Alex Sainsbury and Natalia Bondarenko Tudor Havriliuc Mrs Jane Barker Jackie Donnelly Russell Mr and Mrs James Kirkman Ms Elinor Jansz John Booth Michael Herzog Oliver Barker Joan Edlis Brian and Lesley Knox Mr Richard Christo Salmon Rory and Elizabeth Brooks Henry Highley Victoria Barnsley, OBE Lord and Lady Egremont David P Korn Tatiana Salomon The Lord Browne of Madingley, Mr M J Margulies Hazel Barratt Margaret Erbe Kowitz Trust Cherrill and Ian Scheer FRS, FREng Alison Myners Jim Bartos John Erle-Drax Mr and Mrs Herbert Kretzmer Sylvia Scheuer Karen Cawthorn Argenio Mariela Pissioti Dr Amelie Beier Dr Nigel Evans Linda Lakhdhir Mrs Cara Schulze XiaoMeng Cheng Mathew Prichard Ms Anne Berthoud Stuart and Margaret Evans Simon Lee Melissa Sesana Victoria Chu Garance Primat Madeleine Bessborough Carl Faker Tiina Lee The Hon Richard Sharp Mr Stephane Custot Valerie Rademacher Shoshana Bloch Mrs Heather Farrar Leonard Lewis Neville Shulman, CBE Pascale Decaux Jordana Reuben David Blood and Beth Bisso David Fawkes Sharron Lewis David Solo Ladi Delano Sybil Robson Orr Bruno Boesch Mrs Margy Fenwick Sophia and Mark Lewisohn Louise Spence Sophie Diedrichs Almine Ruiz-Picasso Harry and Fabiana Bond Laurie Fitch Mr Gilbert Lloyd Mr Nicos Steratzias Valentina Drouin Franz Schwarz Brigid Bose Lt Commander Paul Fletcher Mrs Elizabeth Louis Marie-Claude Stobart Ashiya Dudhia Carol Sellars Elena Bowes Mr and Mrs Laurent Ganem Jeff Lowe Mrs Patricia Swannell Eykyn Maclean Ltd Raksha Sriram Alina Boyko Mala Gaonkar Alison Loyd Mr James Swartz Mr David Fitzsimons Rebecca Taylor Viscountess Bridgeman Elena Geuna Mrs Ailsa Macalister The Sylvie Fleming Collection Edwin Fox Foundation Mr and Mrs Stanley S Tollman Laura Brimson Mr Mark Glatman Kate MacGarry The Lady Juliet Tadgell Stephen Friedman Manuela and Iwan Wirth Ben and Louisa Brown Ms Emily Goldner and Mr Fiona Mactaggart Tot Taylor Hugh Gibson and those who wish to remain Michael Burrell Michael Humphries Sir John Mactaggart Isadora Tharin Olga Grishina anonymous Mrs Marlene Burston Aphrodite Gonou Audrey Mandela Elaine Thomas Mr Florian Gutzwiller Mrs Aisha Cahn Kate Gordon Lali Marganiya Anthony Thornton Alexis and Anne-Marie Habib Sarah Caplin Dimitri Goulandris Marsh Christian Trust Marita Thurnauer Andrew Harcourt Timothy and Elizabeth Capon Penelope Govett Daniele Mattogno Ian Tollett David Herro Mr Francis Carnwath and Ms Judith and Richard Greer Ms Fiona Mellish Victoria Tollman O’Hana Misha and Theresa Horne Caroline Wiseman Martyn Gregory Mrs R W P Mellish Karen Townshend Mr and Mrs Yan Huo Roger Cazalet Richard and Odile Grogan Professor Rob Melville Andrew Tseng Mr Phillip Hylander Lord and Lady Charles Cecil Carol Grose Dr Helen Metcalf Melissa Ulfane Natascha Jakobs-Linssen Dr Peter Chocian Professor John Gruzelier Vincent Meyer Mrs Jolana Vainio and Dr Petri Maria and Peter Kellner Paris Christofferson Mrs Helene Guerin-Llamas Victoria Miro Vainio Luigi Mazzoleni and Jose Graci John F Clappier Jill Hackel Zarzycki Mrs Bona Montagu Celine Valligny Scott and Suling Mead (Chair) Cynthia Clarry Arthur Hanna Mrs William Morrison Mrs Cecilia Versteegh Emma Menell Andres Clase Mark Harris Ms Deborah Norton Gisela von Sanden Mary Moore Frank Cohen Michael and Morven Heller Julian Opie Andreas Vourecas-Petalas Afsaneh Moshiri Mrs Jane Collins Cherine Helmy Pilar Ordovás Audrey Wallrock Hussam Otaibi Dr Judith Collins Christian Hernandez and Desmond Page Linda Waterhouse Simon and Midge Palley Terrence Collis Michelle Crowe Hernandez Maureen Paley Offer Waterman Jan-Christoph Peters Mr and Mrs Oliver Colman Paul Higgins Sir Michael Palin Michael Webber Alexander and Bella Petrov Mayte Comin Muriel Hoffner Mrs Kathrine Palmer Sian West Mr and Mrs Paul Phillips Giles and Sonia Coode-Adams James Holland-Hibbert Mathieu Paris Miss Cheyenne Westphal Mr Gilberto and Mrs Daniela Cathy Corbett Lady Hollick, OBE Mrs Véronique Parke Professor Sarah Whatmore Pozzi Cynthia Corbett Holtermann Fine Art Trevor Pickett Mr Douglas Woolf Frances Reynolds Pilar Corrias Jeff Horne Frederique Pierre-Pierre Adam Wurr Sir Paul and Lady Ruddock Tommaso Corvi-Mora John Huntingford Professor Richard Portes, CBE, and those who wish to remain Ralph Segreti Mr and Mrs Bertrand Coste Helen Janecek FBA anonymous Jake and Hélène Marie Shafran Sarah Jennings Graham Powell

TATE ANNUAL REPORT 2019/20 48 OUR SUPPORTERS CONTENTS

DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS

YOUNG PATRONS Beth Greenacre Aurore Ogden (Co-Chair, Young Ethan Yip INTERNATIONAL COUNCIL HRH Princess Firyal of Jordan Katja and Nicolai Tangen / AKO AFRICA ACQUISITIONS 10 Hanover Miles Greenberg Patrons Ambassador Group) HRH Princess Eugenie of York MEMBERS Ms Monica Kalpakian Foundation COMMITTEE Samira Abdelmalek Alex Haidas Reine and Boris Okuliar Evgeny Zborovsky Staffan Ahrenberg, Editions Richard and Pamela Kramlich Lorraine Tarabay Aki Abiola Paulo Abecasis Ayano Hattori Berkay Oncel Alma Zevi Cahiers d’Art Andreas and Ulrike Kurtz Warly M Tomei Kathy Ackerman Robins Nadine Adams Jiafeng He Miruna Onofrei Yuejia Zhou Geoff Ainsworth, AM Catherine Lagrange Richard and Maggie Tsai The African Arts Trust Estelle Akeroyd Hunt Ari Helgason Periklis Panagopoulos Marcelo Osvaldo Zimmler Michael J. Audain Pierre Lagrange Ninetta Vafeia Adnan Bashir Nadia Akpinar Patrick Hennessey Olympia Pappa and those who wish to remain Petr Aven The Lauder Foundation - Paulo A W Vieira Priti Chandaria Shah Miss Noor Al-Rahim Max Edouard Friedrich Hetzler Divya Pathak anonymous Maria Baibakova and Leonard and Judy Lauder Fund Mercedes Vilardell Mrs Kavita Chellaram HRH Princess Alia Al-Senussi Alexander Hollinshead Harsha Perera Adrien Faure Edward Lee Robert and Felicity Waley-Cohen Harry G David Hugo Alcantara Simona Houldsworth Alexander V Petalas (Co-Chair, Nicolas Berggruen Seo Hyun Lee Diana Widmaier Picasso Lana de Beer David Fiona Amitai Kyu Hwang Young Patrons Ambassador Jo and Tom Bloxham Jacqueline and Marc Leland Christen and Derek Wilson Mr and Mrs Michel David-Weill Mihai Anca Stefan Idowu-Bello Group) Pontus Bonnier Joyce Liu Sylvie Winckler Ladi Delano Tamim Antoniades Phoebus Istavrioglu Victor Petitgas Paloma Botín O’Shea Panos and Sandra Marinopoulos The Hon Dame Janet Wolfson de Robert and Renee Drake Gulru Arvas Claudine Ivari Robert Phillips Bill Bowness Angela Westwater and David Botton, DBE Mrs Wendy Fisher Nur Arvas Ning Jiang Mr Mark Piolet Ivor Braka Meitus Dr Terry Wu Diane B. Frankel Lucy Attwood Aled Jones Ayelén Privato The Deborah Loeb Brice Victoria Mikhelson Yang Yang Andrea Kerzner Miss Olivia Aubry Miss Meruyert Kaliyeva Christopher Pullen Foundation Naomi Milgrom, AO Poju Zabludowicz and Anita Pulane Tshabalala Kingston Charles and Tetyana Banner Mrs Vasilisa Kameneva Ms Catherine Quin Mrs Elizabeth Brooks and Mr Simon and Catriona Mordant Zabludowicz, OBE Samallie Kiyingi Federica Baretta Zoe Karafylakis Sperling Mr Eugenio Re Rebaudengo Rory Brooks CBE Mrs Yoshiko Mori and those who wish to remain Othman Lazraq Dehlia Barman Tamila Kerimova Dave Reynolds Andrew Cameron, AM Gael Neeson anonymous Gervanne Leridon Lucy Barry Marika Kielland Nour Saleh Nicolas and Celia Cattelain Dr Mark Nelson Matthias Leridon Katrina Beechey Ms Chloe Kinsman Veronica Scarpati Christina Chandris Mr and Mrs Takeo Obayashi Caro Macdonald Penny Johanna Beer Maria Korolevskaya Daniel Schwarz Richard Chang (Vice Chair) Mr and Mrs Eyal Ofer Dale Mathias Eleni Beveratou Daria Kravchenko Count Indoo Sella Di Monteluce Pierre Chen, Yageo Foundation, Andrea and José Olympio Pascale Revert Wheeler Dr Maya Beyhan Nattasja Kusuma Myriam Semere Taiwan Pereira Emile Stipp Dorothee Boissonnas Dominic Lamotte Robert Sheffield Mr Euisun Chung and Mrs Hideyuki Osawa Liese Van Der Watt and Stephan Erin Booth Nicholas M Lamotte Ms Marie-Anya Shriro Geesun Chung Midge and Simon Palley Pretorius Kit Brennan Ms Aliki-Marcadia Amar Singh Mr and Mrs Attilio Codognato Irene Panagopoulos Josef Vascovitz and Lisa David Carpenter Lampropoulos Evgenia Slyusarenko Sir Ronald Cohen and Lady Young-Ju Park Goodman Lauren Carpenter Angélica Lèbre Alexander Smith Cohen Véronique Parke Mercedes Vilardell (Chair) Thibaud Chaligne Hena Lee Jana Soin Dimitris Daskalopoulos Yana and Stephen Peel Alexa Waley-Cohen Matthew Charlton Alexandra Lekomtseva Henry Spethmann Mr and Mrs Michel David-Weill Daniel and Elizabeth Peltz Peter Warwick Aidan Christofferson John Lellouche Katarina Stojanovic Miel de Botton Catherine Petitgas (Chair) and those who wish to remain Bianca Chu Alexander Lewis Dominic Stolerman Suzanne Deal Booth Sydney Picasso anonymous Niamh Conneely Georgina Lewis Marine Tanguy Tiqui Atencio Demirdjian and Lekha Poddar Thamara Corm Ines Leynaud Melisa Tapan Ago Demirdjian Miss Dee Poon Stephanie Courmont Yisi Li Nayrouz Tatanaki Robert and Renée Drake Miuccia Prada and Patrizio Huguette Craggs Jonathan Lim Vassan Thavaraja Olga Dreesmann Bertelli Averil Curci Di Liu Mr Leo Thetiot Füsun and Faruk Eczacıbaşı Laura Rapp and Jay Smith Helena Czernecka Han Lo Soren S K Tholstrup Fares and Tania Fares Maya and Ramzy Rasamny Henry Danowski Tessa Lord Omer Tiroche Doris Fisher Patrizia Sandretto Re Veronika Dapunt Mr J Lueddeckens Charles Towning Wendy Fisher Rebaudengo and Agostino Re Mr Joshua Davis Amber Mackenzie Alexandrei Trausch Amanda and Glenn Fuhrman Rebaudengo Countess Charlotte de la Yusuf Macun Nicolas Trausch Belma Gaudio and The Butters Frances Reynolds Rochefoucauld Ms Sonia Mak Mr Giancarlo Trinca Foundation Michael Ringier Émilie De Pauw Dr Christina Makris Mr Philippos Tsangrides Candida and Zak Gertler Hanneli M Rupert Agnes de Royere Mr Jean-David Malat Ms Navann Ty Yassmin Ghandehari Sevil Sabanci Aliya de Tiesenhausen Zain Masud Giada Vaghi Lydia and Manfred Gorvy Lily Safra Emie Diamond Magnus Mathisen Mr Lawrence Van Hagen Laurence Graff Rajeeb and Nadia Samdani Indira Dyussebayeva Charles-Henri McDermott Sophie van Rappard Xavier Guerrand-Hermès Alejandro Santo Domingo Alexandra Economou Frederick McDonald Damian Vesey Mimi and Peter Haas Fund Tarana and Tarun Sawhney Eleanor A Edelman Edward McGovern Alina Voronova Margrit and Paul Hahnloser Anders and Yukiko Schroeder Danae Filioti Mary McNicholas Luning Wang Susan Hayden Dasha Shenkman, OBE Kate Finefrock Shahid Miah Samuel Wang Ydessa Hendeles Dr Gene Sherman, AM Thomas Forwood Miss Nina Moaddel Yüge Wang Marlene Hess and James D. Zirin Jon and Kimberly Shirley Jane and Richard Found Lisa Molodtsova Kim Williams Maja Hoffmann Uli and Rita Sigg Sylvain Fresia Mr Fernando Moncho Lobo Thomas Williams Vicky Hughes Norman Stone Brian Fu Margot O’Sullivan Alexandra Wood Ishikawa Foundation John J Studzinski, CBE Mr Andreas Gegner Ikenna Obiekwe Michelle Wu Sangita Jindal Maria and Malek Sukkar Mr Taymour Grahne Vanessa Wurm Dakis and Lietta Joannou Christen Sveaas

TATE ANNUAL REPORT 2019/20 49 OUR SUPPORTERS CONTENTS

DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS

A SIA- PACIFIC EUROPEAN COLLECTION LATIN AMERICAN MIDDLE EAST AND NORTH NORTH AMERICAN PHOTOGRAPHY RUSSIA AND EASTERN SOUTH ASIA ACQUISITIONS ACQUISITIONS COMMITTEE CIRCLE ACQUISITIONS COMMITTEE AFRICA ACQUISITIONS ACQUISITIONS COMMITTEE ACQUISITIONS COMMITTEE EUROPE ACQUISITIONS COMMITTEE Shane Akeroyd Petr Aven Monica and Robert Aguirre COMMITTEE Jacqueline Appel and Alexander Ryan Allen and Caleb Kramer COMMITTEE Shohidul Ahad-Choudhury Matthias Arndt Jacques Boissonnas José Antonio Alcantara HRH Princess Alia Al-Senussi Malmaeus Nicholas Barker Dilyara Allakhverdova (Co-Chair) Krishna Bhupal Bonnie and R Derek Bandeen Karen Cawthorn Argenio Francesca Bellini Abdelmonem Bin Eisa Alserkal Abigail Baratta Carolin Becker Stella Beniaminova Dr Arani and Mrs Shumita Bose Lito and Kim Camacho Lonti Ebers Celia Birbragher Marwan T Assaf Dorothy Berwin Pierre Brahm David and Kathryn Birnbaum Krishna Choudhary Mr and Mrs John Carrafiell Trustees of the Gaudio Family Countess Nicole Brachetti Peretti Perihan Bassatne Chrissy Taylor Broughton and Alla Broeksmit Attila Brezoczki Akshay Chudasama David Chau Foundation (UK) Limited Estrellita Brodsky Family Boghossian Lee Broughton Elizabeth (Co-Chair) and Rory Francise Hsin-Wen Chang Jai Danani Mrs Marisa Chearavanont Stichting Hartwig Foundation Luis Javier Castro Ms Isabelle de la Bruyère Dillon Cohen Brooks Marian Gazdik Shalini Amerasinghe Ganendra Adrian Cheng Annette and Marc Kemmler Simone Coscarelli Parma Füsun Eczacıbaşı Michael Corman and Kevin Fink Michael A Chesser Jan Hammer Taimur Hassan Jonathan Cheung Edward Lee (Chair) HSH the Prince Pierre d’Arenberg Maryam Eisler (Co-Chair) James E Diner Beth and Michele Colocci Patrick Hessel Dr Amin Jaffer Lawrence Chu Narmina Marandi Tiqui Atencio Demirdjian Shirley Elghanian Mala Gaonkar Mr and Mrs Michel David-Weill Vilius Kavaliauskas and Rita Tarini Jindal Marcel Crespo Monica Reitan (Co-Chair) Noor Fares Jill Garcia Mr Hyung-Teh Do Kavaliauskiene Deepanjana Klein Mr Yan d’Auriol Danny Rimer Marta Regina Dr Farhad Farjam Victoria Gelfand-Magalhaes David Fitzsimons Carl Kostyál Simran Kotak and Vir Kotak Dani Duclos and those who wish to remain Fernandez-Holmann Hossein and Dalia Fateh Shari Glazer Lisa Garrison Mrs Grazyna Kulczyk Ms Aarti Lohia Mrs Yassmin Ghandehari anonymous Heloisa Genish Negin Fattahi-Dasmal Amy Gold Emily Goldner and Mike Peter Kulloi (Co-Chair) Yamini Mehta Esther Heer-Zacek Barbara Hemmerle Gollust Raghida Ghandour Al Rahim Pamela J Joyner Humphries Enikö Leányvári and Gábor Illés Mr Yogesh Mehta Philippa Hornby Julian Iragorri Mareva Grabowski Peter Kahng Ann Hekmat Iveta Manasherova Mohammad N. Miraly Shareen Khattar Harrison Aimée Labarrere de Servitje Aysegül Karadeniz Patricia Kaneb Kelly Alexandra Hess Eduard Maták Shalini Misra Mr Jung Wan Kim José Luis Lorenzo Mr Elie Khouri Nancy Kaneb Soule Natascha Jakobs-Linssen Luba Michailova Mr Rahul Munjal and Mrs Pooja Ms Yung Hee Kim Sofia Mariscal and Guillermo Maha Kutay Christian Keesee Elizabeth and William Kahane Katarzyna Mikolajczak Munjal Ms Ellie Lai Penso Blanco Dina Nasser-Khadivi Anna Korshun Jack Kirkland Maarja Oviir-Neivelt Lekha Poddar (Co-Chair) Alan Lau (Co-Chair) Susan McDonald Mr Moshe Peterburg Miyoung Lee Randall Kroszner and David Florin Pogonaru Smita Prabhakar Woon Kyung Lee Gabriela Mendoza Ramzy and Maya Rasamny Marjorie and Michael Levine Nelson Petr Pudil ZVM Rangoonwala Foundation Woong-Yeul Lee Denise and Filipe Nahas Mattar (Co-Chair) James Lindon Nathalie Lambert-Besseddik Neil K Rector Nadia Samdani Jasmine Li Veronica Nutting Thomas Rom Kathleen Madden and Paul Cynthia Lewis Beck Valeria Rodnyansky Rajeeb Samdani (Co-Chair) Mr William Lim Victoria and Isaac Oberfeld Mrs Karen Ruimy Frantz Suling Mead Robert Runták Mrs Tarana Sawhney Lin Qi Silvia Paz-Illobre Maria and Malek Sukkar Stavros Merjos Sebastien Montabonel Ovidiu Sandor Osman Khalid Waheed Ms Dina Liu Catherine Petitgas Faisal Tamer Gregory R Miller (Co-Chair) Saadi Soudavar Zsolt Somlói Manuela and Iwan Wirth Alan and Yenn Lo Claudio Federico Porcel Berna Tuglular Rachelli Mishori and Leon Koffler Nicholas Stanley Elena Sudakova and those who wish to remain Ms Kai-Yin Lo Thibault Poutrel Sebnem Unlu Shabin and Nadir Mohamed Maria and Malek Sukkar Miroslav Trnka anonymous Lu Xun Frances Reynolds Mr Zahid and Ms Binladin Sami Mnaymneh Francois Trausch, in memory of Mr Laszlo Vago Yoonwhe Leo Moon & Young Erica Roberts (Co-Chair) Roxane Zand Alexander V. Petalas Caroline Trausch Jo Vickery Ran Yun Roberto Ruhman and those who wish to remain Holly Peterson Annie Vartivarian Veronika Zonabend Lynn Ou Alin Ryan Lobo anonymous Amy and John Phelan Michael and Jane Wilson Mr Jānis Zuzāns Mr John Porter Catalina Saieh Guzmán Laura Rapp and Jay Smith and those who wish to remain and those who wish to remain The Red Mansion Foundation Teresa Sapey Stephanie Robinson anonymous anonymous Arif Suherman Lilly Scarpetta Carolin Scharpff-Striebich Mr Patrick Sun Richard Weinstein Ralph Segreti Chikako Tatsuuma and those who wish to remain Komal Shah Dr Andreas Teoh anonymous Eleanor and Francis Shen Rudy Tseng Kimberly and Jon Shirley Rachel Verghis Beth Swofford Wang Bing Ann Tang Chiu Yang Bin Nadia Toscano-Palon and Jenny Yeh Roberto Toscano Fernando Zobel de Ayala Charlotte Wagner (Co-Chair) Christen Wilson (Co-Chair) and and those who wish to remain Derek Wilson anonymous Mary Zlot and those who wish to remain anonymous

TATE ANNUAL REPORT 2019/20 50 OUR SUPPORTERS CONTENTS

DONATIONS, GIFTS, LEGACIES AND SPONSORSHIPS

THE 1897 CIRCLE TATE LIVERPOOL White Cube TATE LIVERPOOL TATE ST IVES CORPORATE MEMBERS Marilyn Bild Yongsoo Huh COMMISSIONING CIRCLE BMW James Birch SPONSORS AND DONORS and those who wish to remain Jo and Tom Bloxham, MBE SUPPORTERS AND DONORS BNP Paribas David and Deborah Botten Arriva Merseyside anonymous Tom and Jane Samson Art Fund Carbis Bay Holidays Geoff Bradbury Art Fund Roisin and James Timpson, OBE Arts Council England Colenso DIY Charles Brett Arup CORPORATE PARTNERS Ross Warburton and Caroline Michael and Gillian Bailey Cornish Holiday Cottages Sylvia Carter Birmingham City University Birmingham City University Barnard Wilhelmina Barns-Graham Trust Cornish Horizons Eloise and Francis Charlton The Bloxham Charitable Trust The City of Liverpool College and those who wish to remain Edward Bolitho EY Mr & Mrs Cronk Ben Caldwell David M Robinson (Jewellery) Ltd anonymous The Hon Evelyn Boscawen Harding Laity Paul Cumming-Benson Gunny Cho Edge Hill University Viscountess Boyd Charitable OSKA Alex Davids The City of Liverpool College Liverpool Hope University PATRONS Trust Sail Lofts Jonathan Davis Clore Duffield Foundation Liverpool John Moores Elkan Abrahamson Carew Pole Charitable Trust St Ives Harbour Sean Dissington Creative Europe Programme of University Hilary Banner Clore Duffield Foundation Sykes Holiday Cottages Ronnie Duncan the European Union University of Liverpool Diana Barbour Coastal Communities Fund Tregenna Castle Joan Edlis Dulux Decorator Centre, and those who wish to remain Janet Beer The John S Cohen Foundation V Fabian Liverpool anonymous David Bell His Royal Highness The Prince of MEMBERS COMMITTEE Ian Fletcher Edge Hill University Lady Beverley Bibby Wales Duke of Cornwall Jill Block Lt Cdr Paul Fletcher Embassy of Argentina CORPORATE MEMBERS Amanda de Blaquière and David Cornwall Council Lawrence Ford Mr and Mrs R.N. and M.C. Fry European Regional Development BNP Paribas Blaquière DCMS/Wolfson Museum and Beth Grossman Tom Glynn Fund EY Shirley and Jim Davies, OBE Galleries Improvement Fund Laura McCrossen Richard S. Hamilton The Estate of Fanchon Frohlich Fazenda Jonathan Falkingham, MBE Department for Digital, Culture, Liz Murray L.A. Hynes Gladstone Gallery Hope Street Hotel Julie Falkingham Media and Sport Neil Scott (Chair) John Iddon Goethe-Institut London Joseph Massie Flowers David Marsden Robert and Lucy Dorrien-Smith Richard Sorrell John Janssen Gray LEAF Olwen McLaughlin University of Falmouth Carla Vargas Puccio Dr Martin Kenig Paul Hamlyn Foundation Lexus Liverpool Barry Owen, OBE The Foyle Foundation Isa Levy The Keith Haring Foundation Love Lane Brewing Sue and Ian Poole Philip and Linda Harley Theo Matoff Luziah Hennessy Lime Pictures Philip and Jane Rooney Jane Hartley Jean Medlycott PH Holt Foundation Niche Retreats Jim and Jackie Rymer The Headley Trust Tony Miller The Hemby Trust Original Cottages Alan Sprince Andrea Higham Sonya Newell-Smith Duchy of Lancaster Benevolent Rathbone Investment Roisin Timpson Lady Mary Holborow Miss Sue Novell and Mr Graham Fund Management Ursula Tucker Simon and Nicky Marquis Smith Christian and Florence Levett and those who wish to remain and those who wish to remain The Hon Mrs Rita McAulay Martin Owen Liverpool City Council anonymous anonymous Ronald McAulay Simon Reynolds Liverpool Hope University Linda and David Melbourne Dianne Roberts Liverpool John Moores FUNDRAISING ADVISORY Merville Galleries Dr Claudia Rosanowski University GROUP Mondriaan Fund Ann M Smith Lunder Institute for American Phil Adams Lord and Lady Myners of Truro Alan Sprince Arts David Bell Colin and Denise Nicholls Deborah Stern The Brian Mercer Charitable Simon Bland The Porthmeor Fund Jennifer Toynbee-Holmes Trust Amanda de Blaquière St Endoc Hotel Estate of Paule Vézelay National Lottery through Arts Jim Davies St Ives Tourism Association D. Von-Bethmann Hollweg Council England Paul Kallee-Grover (Chair) St Michael’s Mount Foundation Audrey Wallrock Catherine Petitgas Olwen McLaughlin The Tanner Trust Rosie Watts Regen Projects Philip Rooney Tate Members Prof. Brian Whitton The Rothschild Foundation Angela Samata Tate St Ives Members Kay and Dyson Wilkes Francis Ryan and Peter Woods National Lottery Heritage Fund Simon Casimir Wilson Jean and Melanie Salata MEMBERS COMMITTEE Gareth Thomas Andrew Woodd SBS Foundation Edward Barnes Michael and Yvonne Uva Mr Zilberberg Herb and Lenore Schorr Pete Clarke Garfield Weston Foundation and those who wish to remain Sennheiser Mary Colston Geoff and Sue Wiggin anonymous The Steel Charitable Trust Linda Crane Sir Geoffrey and Lady Lisa Swiss Arts Council Pro Helvetia Alice Demba Wilkinson Tate Americas Foundation Julie Falkingham James Williams Tate Members Peter Mearns The Wolfson Foundation University of Liverpool Emma Thompson (Chair) and those who wish to remain US Embassy London and anonymous British Association for American Studies Welsh Slate Garfield Weston Foundation

TATE ANNUAL REPORT 2019/20 51 FACTS AND FIGURES

To celebrate the William Blake exhibition at Tate Britain, we projected one of his most famous works onto the dome of St Paul’s Cathedral FACTS AND FIGURES CONTENTS

2019/20 VISITOR FIGURES 1,621,545 BRITAIN 628,018 LIVERPOOL 5,742,822 MODERN 269,534 ST IVES 8,261,919 TOTAL

*Figures until 17 March 2020. All galleries closed 18 March to 27 July 2020 due to coronavirus

TATE ANNUAL REPORT 2019/20 53 FACTS AND FIGURES CONTENTS

TOTAL INCOME OPERATING INCOME

Grant-in-Aid from Parliament, provided through Excluding income associated with the Department for Digital, Culture, Media and capital expenditure and collections Sport, is the bedrock of Tate’s funding.

OPERATING £130.7m

CAPITAL £94m SELF-GENERATED INCOME £4.9m £81.3m £85.1m

£155m COLLECTIONS £19.4m

£35.6m £35.1m £36.7m GRANT-IN-AID

£116.9m £120.2m £130.7m 2017/18 2018/19 2019/20

OPERATING EXPENDITURE CAPITAL ADDITIONS

The expenditure shown reflects the cost of Tate’s success grows from the remarkable generosity and support of fulfilling Tate’s charitable and statutory purpose. donors of all kinds, among them those who donate works of art, and funds for the purchase of works of art, for the benefit of the nation. CHARITABLE COSTS OF ACTIVITIES GENERATING – PUBLIC DONATIONS £8.2m PROGRAMMING AND LEGACIES £56m £3.6m £3.1m £2.7m OTHER FIXED ASSETS £130.3m CHARITABLE INVESTMENT ACTIVITIES – MANAGEMENT £16.1m SUPPORT COSTS COSTS £10.7m £12.7m WORKS OF ART DONATED £25.8m £0.03m

OTHER COSTS OF TRADING COSTS RAISING FUNDS £35.1m £6.4m £7.4m £5.7m WORKS OF ART PURCHASED £9.6m OTHER £30.7m £21.2m £21.1m £0.2m 2017/18 2018/19 2019/20

TATE ANNUAL REPORT 2019/20 54 CONTENTS

Photos: © Tate, unless noted. p.26 Clockwise: Nam June Paik Sistine Chapel 1993 Collection and © The Board of Trustees of the Tate Gallery, Photos by Jordan Anderson (cover; p.6 left; p.25 bottom right; p.29 © Estate of Nam June Paik; Hyundai Commission: Kara Walker Fons Millbank, London, SW1P 4RG. top; p.44); David Lennon (p.4); Joe Humphreys (p.5; p.21; p.24 bottom Americanus 2019 © Kara Walker; Steve McQueen Year 3 2019 © Steve left; p.25 left; p.26 bottom; p.28 bottom); Oliver Cowling (p.6 right; McQueen and Tate p.27 top left); Andrew Dunkley (p.7; p.23 bottom right; p.26 left; p.27 p.27 Clockwise: Tate Britain Winter Commission: Anne Hardy The Published 2020 by order of the Tate Trustees. bottom; p.29 bottom right; p.40); Matt Greenwood (p.9; p.23 top left & Depth of Darkness, the Return of the Light, © Anne Hardy: Courtesy top right; p.26 right; p.29 bottom left; ); Alex Wojcik (p.10; p.16; p.52); Maureen Paley, London. Photo © Tate (Oliver Cowling) 2019; Theaster All content © Tate unless indicated Lindsay O’Leary (p.15); Sam Day (p.24 bottom right; p.28 left); Mark Gate Dance of Malaga 2019 © Theaster Gates; © Estate of Dora Maar / Heathcote (p.28 right; p.45); Roger Sinek (p.39); Seraphina Neville DACS 2020, All Rights Reserved (p.41); Isidora Bojovic (p.42); Lucy Dawkins (p.43) p.28 Clockwise: Naum Gabo Head No.2 1916, enlarged version 1964 Every effort has been made to trace copyright Tate Purchased 1972 The Work of Naum Gabo © Nina & Graham Cover: © Kara Walker Williams / Tate. Photo: Kirstin Prisk; Michael Dahl Lady Mary Somerset, holders. We apologise for any inadvertent p.5 © Olafur Eliasson Duchess of Ormond 1690s (left) and Rachel Russell, Duchess of infringement and invite appropriate rights p.7 Top: Natalia Goncharova Mother of God: Mother of God & The Devonshire 1690s National Trust Collections, Petworth House (The Ornament. Flowers 1911 State Tretyakov Gallery, Moscow. Bequeathed Egremont Collection (acquired in lieu of tax by H.M.Treasury in 1957 holders to contact us at [email protected]. by A.K. Larionova-Tomilina, Paris 1989 © ADAGP, Paris and DACS, and subsequently transferred to The National Trust)); © Courtesy of London 2020; Bottom: Nam June Paik Uncle 1986 Collection of Mrs the artist and Karma International, Zurich and Los Angeles; Gladstone and Mr Sylvio Perlstein, Antwerp (left) and Aunt 1986 Collection of Mrs Gallery, New York and Brussels; House of Gaga, Mexico City; and Written by and Mr Sylvio Perlstein, Antwerp (right) © Estate of Nam June Paik Proyectos Ultravioleta, Guatemala City. Ruth Findlay p.8 © Keith Haring Foundation p.29 Clockwise: © Steve Mc Queen. Courtesy the artist, Thomas Dane p.9 Huguette Caland Visages sans bouche, bouches sans visages Gallery and Marian Goodman Gallery; © 2020 The Andy Warhol 1970–1971 Courtesy of the artist and Galerie Janine Rubeiz © Foundation for the Visual Arts, Inc. / Licensed by DACS, London; Edited by Huguette Caland Aubrey Beardsley Le Morte Darthur screen circa 1967 Stephen p.10 Boris Charmatz 10000 Gestes Volksbühne 2020 © Boris Charmatz Calloway Lee Cheshire p.11 Purchased with funds provided by the Asia Pacific Acquisitions p.30 Photo: © Fine Arts Museums of San Francisco Committee 2019 © Courtesy of the Pacita Abad Art Estate p.33 Kemang Wa Lehulere I cut my skin to liberate the splinter: Act 1 p.12 Photo: © Mark McNulty 2017 Tate Purchased with funds provided by the Africa Acquisition With special thanks to p.13 Clockwise from top left: Tai Shani DC Semiramis 2019 © Tai Shani; Committee 2019 © Kemang Wa Lehulere Jason Becker, Kate Pattenden, Patrizia Ribul, Lawrence Abu Hamdan After SFX 2018 © Lawrence Abu Hamdan; p.34 Right:© Estate of Gluck (Hannah Gluckstein) © Oscar Murillo; Helen Cammock Shouting in Whispers 2017 © Helen p.35 From left: © Estate of Shirley Baker; © Stano Filko; © ADAGP, Paris Alessandra Serri and Tate Photography Cammock. Photos: © David Levene. Bottom: Photo: © Stuart C. Wilson and DACS, London 2020; © Nil Yalter, courtesy Galerie Hubert Winter, p.14 Ford Madox Brown Jesus Washing Peter’s Feet 1852-6 Tate Vienna Presented by subscribers 1893 p.36 From left: © Estate Franz West © Archiv Franz West; © Courtesy Designed by p.15 John Simpson Head of a Man (?Ira Frederick Aldridge) exhibited of the Pacita Abad Art Estate; © Vivan Sundaram; © Estate of Maud 1827 Tate Sulter / DACS 2020, All rights reserved Paul Neicho p.18 © Hydar Dewachi p.37 From left: © Kemang Wa Lehulere; © Vincent Fecteau / courtesy Tate Design Studio p.19 Dame Barbara Hepworth Four-Square (Walk Through) 1966 Lent the artist and greengrassi, London; © Mike Nelson, courtesy Matt's by the Trustees of the Barbara Hepworth Estate On long term loan © Gallery, London; © Lisa Brice Bowness. Photo: © Rikard Osterlund p.38 Left: Ithell Colquhoun untitled watercolour © Tate. Right: Guy Brett p.20 Photo: Anders Sune Berg talking to Julie Lawson at the Venice Biennale in 1966. Photo: Photo p.21 © Otobong Nkanga Studio International p.23 Clockwise: Huguette Caland Face to Face 1971 Tate Purchased p.39 © Theaster Gates with funds provided by Middle East and North Africa Acquisitions p.40 Andy Warhol Ladies and Gentlemen (Alphanso Panell) 1975 Italian Committee 2019 © Huguette Caland; Frank Bowling Barticaborn I 1967 Private Collection © 2020 The Andy Warhol Foundation for the Visual Lowinger Family Collection © Frank Bowling. All Rights Reserved, DACS Arts, Inc. / Licensed by DACS, London 2020; © ADAGP, Paris and DACS, London 2020; © Sol Calero p.41 © Helen Frankenthaler / All Rights Reserved, DACS 2020 p.24 Clockwise: © Keith Haring Foundation; Takis Magnetic Ballet p.42 Joseph Mallord William Turner Rome, from the Vatican. Raffaelle, 1963 Tate Purchased with assistance from Tate International Council, Accompanied by La Fornarina, Preparing his Pictures for the Tate Members, Tate Patrons and with Art Fund support 2020 © Takis; Decoration of the Loggia exhibited 1820 Olafur Eliasson Model room 2003 Moderna Museet, Stockholm. p.44 © Steve Mc Queen. Courtesy the artist, Thomas Dane Gallery and Purchase 2015 funded by the Anna-Stina Malmborg and Gunnar Marian Goodman Gallery Höglund Foundation © Olafur Eliasson p.25 Clockwise: Otobong Nkanga In Pursuit of Bling: The Transformation 2014 Courtesy of the artist and Lumen Travo, Amsterdam © Otobong Nkanga; William Blake Europe' Plate i: Frontispiece, 'The Ancient of Days' 1827 (?) The Whitworth, The University of Manchester. Photo: © Guy Bell; © Mark Leckey