We Promote the Collecting of Contemporary Art Through Our Gifts

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_Annual Report 2001/2002 Report _Annual Society 2001/2002 Report _Annual Society

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CAS Patron Director Annual Report 2001/2 Her Majesty Queen Elizabeth The Queen Mother Gill Hedley (1948 - 2002) Projects Director Vice-Patrons Cat Newton-Groves Bryan Ferry David Gordon Collections Curator Caryl Hubbard Mary Doyle Pauline Vogelpoel Mann The Lord McAlpine of West Green Office Manager The Lord and Lady Sainsbury Paula Hollings of Preston Candover The Lady Vaizey Events/Membership Manager The Viscount and Viscountess Windsor Kate Steel until December 2001 Wynne Waring from January 2002 Artist Patrons Sir Anthony Caro, OM Assistant Collections Curator Bridget Riley, CH Jessica Wallwork until December 2001 Ceri Lewis from January 2002 Committee Members Oliver Prenn, Chairman ARTfutures Selector Pesh Framjee, Honorary Treasurer Jeni Walwin Mark Stephens, Honorary Solicitor Lance Blackstone, Honorary Secretary Accountant (part time) Jolyon Barker Suzana Bakar Janice Blackburn until October 2001 Philip Hewat-Jaboor Accounts Assistant (part time) Doris Lockhart Saatchi from September 2001 Anna Bayraktar from April 2001 Sean Rainbird Babs Thomson Edwin Wulfsohn from December 2001 CAS Patron Director Annual Report 2001/2 Her Majesty Queen Elizabeth The Queen Mother Gill Hedley (1948 - 2002) Projects Director Vice-Patrons Cat Newton-Groves Bryan Ferry David Gordon Collections Curator Caryl Hubbard Mary Doyle Pauline Vogelpoel Mann The Lord McAlpine of West Green Office Manager The Lord and Lady Sainsbury Paula Hollings of Preston Candover The Lady Vaizey Events/Membership Manager The Viscount and Viscountess Windsor Kate Steel until December 2001 Wynne Waring from January 2002 Artist Patrons Sir Anthony Caro, OM Assistant Collections Curator Bridget Riley, CH Jessica Wallwork until December 2001 Ceri Lewis from January 2002 Committee Members Oliver Prenn, Chairman ARTfutures Selector Pesh Framjee, Honorary Treasurer Jeni Walwin Mark Stephens, Honorary Solicitor Lance Blackstone, Honorary Secretary Accountant (part time) Jolyon Barker Suzana Bakar Janice Blackburn until October 2001 Philip Hewat-Jaboor Accounts Assistant (part time) Doris Lockhart Saatchi from September 2001 Anna Bayraktar from April 2001 Sean Rainbird Babs Thomson Edwin Wulfsohn from December 2001 01_CAS Contents Co n t e m p o r a r y Art Society_Annual Report 2001 / 2 00 2

About Contemporary Art Society 02 Chairman’s Statement 03 Director’s Report 05 Museums’ Report 08 Purchases for Special Collection Scheme 14 Distribution Scheme Buyers’ Reports 18 Purchases for Distribution Scheme 20 Projects’ Report 24 Members’ Events 26 Member Museums 28 Statement of Financial Activities 30 Acknowledgement to CAS funders 32 02_CAS 03_CAS About Contemporary CAS has presented over 5000 works CAS also organises ARTfutures, an annual Chairman’s Statement Her Majesty Queen Elizabeth, the Queen distribution in 2004, Thomas Frangenberg, of contemporary art to its member selling event to encourage collecting and Mother, had been our Royal Patron for 54 Lisa Corrin and Barbara Taylor purchased Art Society museums throughout Britain since 1910 support artists. years when she died on March 30th at the vigorously. To the total above must be added by artists from Henry Moore, Francis Bacon age of 101. She was therefore nine years the 121 works purchased by corporate clients The Contemporary Art Society actively and David Hockney to Anthony Caro, CAS individual members join in our events and older than the Contemporary Art Society and, - just under £275,000 in total - which this year supports living artists, and for ninety years, Damien Hirst and Mona Hatoum. activities because they have a curiosity about when she became our Royal Patron, she was included Pearson as a major collector. At the has backed its own judgements about or commitment to contemporary art. the Queen. Her private collection at Clarence end of the year, the Scottish Arts Council which works of contemporary art should be CAS is a registered charity supported by House, which many of us visited in 1998, selected us to be their special advisers for presented to public museum collections. its members and grants from the Arts CAS encourages individuals to collect included Sickert, Monet, Augustus John, the promotion of contemporary collecting Council of England, the Scottish Arts contemporary art and enjoy art by living artists. Piper, Sutherland and Sydney Nolan. They in Scotland and the promotion of Scottish I cannot overestimate the benefits to Council, Henry Moore Foundation, Crafts An extensive range of events, visits to studios were the contemporary artists of her first half contemporary artists; there will be artists and museum visitors provided by Council and the Elephant Trust. and private collections, lectures and overseas century. Augustus John was required to be acquisitions under this heading next year. CAS. It plays a vital role in supporting and trips, are advertised in a regular newsletter. sober when he attended the Palace, which he spreading enthusiasm for the work of living CAS continues to raise funds to benefit found difficult. Her name remains as Royal I referred last year to the launch of the artists throughout the country. 65 museums in England, Scotland, Wales CAS offers professional guidance to those Patron for the year under review and she will ‘Catching Comets’ appeal which gathered Richard Cork and N.Ireland. developing contemporary collections or be well-nigh impossible to replace. momentum between May and December, but commissioning art or craft. has slowed down subsequently. Although CAS has secured major Arts Council of The purpose of the Contemporary Art Society equities are in decline and interest rates are England lottery funding on behalf of 15 For further information and membership forms is the promotion of contemporary art but our low, I do beg all of you to do the ‘Ottoline member museums. please contact: principal objective is the acquisition of works Morrell thing’, which is to devote any spare of art and craft for presentation to public cash to the acquisition of today’s art. If we CAS raises funds for its museum purchases Wynne Waring museums throughout the country. In this want the arts to thrive in this 21st Century we through Contemporary Art Society Projects, [email protected] respect CAS is unique. During the year we have to purchase the art for museum display which offers advice to companies wishing were able to purchase works to the value of as soon as it is made. There is an alternative to develop corporate collections. or visit our website at ww w. c o n t e m p a r t . o r g . u k £553,242 which is a record. to spare cash and that is the gift of a specific work or works, which may be easier in these The Special Collection Scheme, supported di f ficult times. In any case, I once again give my by ACE Lottery, is now in full swing and will telephone number, which is (020) 7938 3440. greatly enhance the collections of the 15 participating museums. For our general Aside from purchases which are made from 04_CAS 05_CAS restricted funds, the Society had a and is a Major Donor with her husband David. Director’s Report 2001/2 If 2000/1 was the year in which, as is our visited the very beautiful sculpture park and satisfactory year financially, showing a custom, we ‘gave it all away’, then 2001/2 Romanesque Monastery at Schoenthal in the modest surplus in a year which contained I welcome Doris Lockhart Saatchi and Edwin seems to have been a time when we began foothills of the alps. no windfalls, no major sponsor and, by a Wulfsohn, who introduced us to the City of to spread the message about CAS further month, no ARTfutures. London School. I hope they will enjoy their than usual. The weather stayed fine as we walked in the term on the Committee. hills to see a range of sculpture including new I cannot close without mentioning In February 2001, CAS was invited by ARCO, work by Nigel Hall who accompanied us. The ARTfutures, held in April at a new venue, the Gill Hedley, Mary Doyle and Cat Newton- the Madrid Art Fair, to participate in their rain only came down as we saw new work by City of London School, opened by Sir Groves have all had a good year. Gill in celebration of British contemporary art. I was Ian Hamilton Finlay inside the chapel and, Nicholas Serota and achieving a turnover of particular is synonymous with the also invited to take part in one of a series of after supper in the monastery hall, a rainbow £155,000 in only four days. The ARTfu t u re s Contemporary Art Society and I hope she panel discussions on public and private appeared as we left. It was a magical visit for team got this together with only two months’ will long continue to be so: I would like to collecting. all of us. notice including Easter! Even better news is thank her for her unflagging efforts which that we shall be back next year at this superb have been rewarded with much success. With funds from Nancy Balfour’s family, I was In July, I took a group of Special Collection location opposite Tate Modern and in the She leads a small team, of which Mary and able to publish a brief illustrated history of Scheme curators to Oporto, on a visit which shadow of St Paul’s Cathedral. Cat are the principals, and I thank the entire CAS, with an extended essay, which has been was immaculately organised for us - including staff on your behalf. a useful introduction. It also serves to highlight a roundtable discussion between British and I would like to pay tribute to Janice Blackburn, the real need for a more substantial publication Portuguese curators - by Filipa Oliveira. who has retired from the Committee after six in the future to tell the extraordinary story of years, who was our craft buyer from 1997-9, Oliver Prenn CAS and all the people that have created it. The same month saw a possible new venue for and who has shown us her collection (twice) Chairman ARTfutures but this suddenly became One of these is Pauline Vogelpoel Mann and it unavailable during the summer, causing us to was a great pleasure for all of us that she was postpone the art market until April 2002. In the able to advise on and participate in so much of light of the terrible events of 11 September the members’ trip to Basle in June. 2001, this decision appears to have been only too timely. As well as the many museums in the city and the gigantic Art Fair, we also made a day trip to In September, an exhibition of new work by the Beyeler Foundation, had a delicious lunch Tony Cragg, organised by Contemporary Art of local asparagus in a sunny garden and then Society Projects for the Somerset House Trust, 06_CAS 07_CAS opened on the Terrace at Somerset House. project and the painting collection. Our freelance colleagues, too, become a vital Elsewhere in this Annual Report, Mary Doyle The Committee must sometimes feel that they He cared for CAS and everything it stands We hope that this will be the beginning of a part of what we achieve and how we are seen and Cat Newton-Groves write about their deal with the business and leave the fun to for and we will miss his friendship and his series of sculpture exhibitions in this Afterwards, members enjoyed drinks in a by the rest of the world. work, respectively, with museums and clients others but their guidance is vital in maintaining huge laugh very much indeed. His gifts to marvelous new space in London. room with a fine view of the Thames and then and acknowledge all the freelance staff that that balance of good management and flair on museums through CAS will keep him in a tour of the sculpture collection at BAT: On behalf of all my colleagues I want to thank help us. We are all, in turn, supported in the which an arts charity depends. I am well aware the minds of many people. In the same month, Birmingham saw the amongst other works, this includes the largest them all, especially Jeni Walwin who has dealt office by our colleagues Paula Hollings, of how much I owe to them all, especially to opening, by Cherie Booth QC, of the Wat e r private collection of Rodins. with the on/off nature of the art market with her Suzana Bakar and Anna Bayraktar. My thanks Oliver, his good sense and good humour. It is Finally, March 2002 saw the death of our Hall, adjacent to the Museum and Art Gallery. usual calm and optimism. When it was ‘on’ at go out to each and all of them. a pleasure to welcome Doris Lockhart Saatchi Royal Patron, Her Majesty Queen As a direct result of the Special Collection During the year, two major initiatives have very short notice she and Kerry Duggan and and Edwin Wulfsohn to the Committee. Elizabeth the Queen Mother. In 1998, Scheme and its role in extending been developing. One is our fundraising Kelly Carmichael rose to the challenge and A new project which involves all aspects of members were fortunate enough to be Bi r m i n g h a m ’ s collection of contemporary appeal ‘Catching Comets’, announced by the won my admiration. Clive Garland and all the CAS work was given Lottery funding through During 2001, we have all been fascinated to able to visit her art collection at Clarence paintings, the City of Birmingham decided to Chairman last year and referred to again in his others in the team made it look, as ever, the Scottish Arts Council at the turn of the watch the list of purchases grow, and the House to mark the fiftieth anniversary of develop a permanent gallery for the display of report on p3. The other is a new membership effortless. Believe me, it is not. year. Over the next two years, CAS staff funds diminish accordingly, as Lisa Corrin, Royal Patronage of CAS. It was a their collection of paintings and sculpture from initiative, Blood, which is still in its earliest will investigate the level of private, corporate Thomas Frangenberg and Barbara Taylor wonderful opportunity to see a personal the 20th and 21st centuries. The collection of stages but aims to increase impact of CAS on In November, two members of staff left CAS and museum collecting throughout Scotland exercised their judgment and skill as this collection of works bought and contemporary metalwork, purchased throu g h the widest possible audience, in London and and we wish them well in their exciting new and then seek to find strategies to expand year’s buyers. I am grateful to them all and commissioned from so many of her own SCS, is also on permanent view. beyond and through the internet. roles: Kate Steel is now PA to the Director of and develop this. This is the result of many hope (and sense) that they have had real contemporaries. In the Annual Report of the Victoria and Albert Museum and Jess years’ discussion and planning and we are pleasure in purchasing work on our behalf. 1947/8 Sir Edward Marsh wrote of her Later in the month, the Annual General I want to thank Frances Prenn and Allison Wallwork is Administrator at Matts Gallery. delighted to have won such recognition for consent to become Patron as a ‘matter for Meeting of Contemporary Art Society was Storr for all their energy and ideas in helping our achievements. One of our past buyers, past Committee gladness and gratitude’. held, at the invitation of BAT, at their superb us launch and maintain our fundraising We welcome their successors, Wynne Waring members, a continuing support and good new headquarters on the Embankment. appeal. Allison created Blood, although we and Ceri Lewis. We are grateful, as always, to all the friend was Tom Bendhem who died I can think of no better summary of her both want to acknowledge the debt we owe organisations that support and help to fund unexpectedly in January 2002. He was forever role as our Royal Patron and it was an Godfrey Worsdale, Curator of Southampton for the name and so much of the impetus to The staff of Contemporary Art Society is small us, especially the Arts Council of England and generous: offering a present of cash to buy honour to attend her funeral, representing City Art Gallery, talked about the video and Philip Orwell and Paul Townsin of V3. but resilient. There are so many events where we the Henry Moore Foundation. ‘something for the office’ when we moved the staff, Committee and Members of the wall drawings collection that he is creating appear swan-like - we hope - in public but so from the Tate and, in recent years, offering to Contemporary Art Society. with the help of the Special Collection As always, CAS has depended on the much effort goes on beneath the surface to keep We could not have won such support, nor buy specific work for us if we so wished. This Scheme and Jane Farrington, Principal voluntary help of many wonderful people us afloat. I want, as ever, to rec o r d my gratitude achieved so much, without the painstaking showed thoughtfulness and a real awareness Keeper of Birmingham Museum & Art Gallery, who take on some of our routine tasks and for all the hard work and extra commitment that and unstinting commitment of the Committee of what we needed as well as active, Gill Hedley showed slides of the new Water Hall also help us spread the word about CAS. they give to CAS as a whole and to me personally. and, above all, our Chairman Oliver Prenn. informed patronage. Director 08_CAS 09_CAS Museums’ Report 2001/2 Special Collection Scheme The SCS recently supported the production of a contemporary collection for the city and Visits for loan to exhibition in the UK and abroad; 2001 marked a turning point in the Special a major audio commission by internationally its audiences. In June we visited Oporto, Portugal, to coincide several go on tour for long periods before Collection Scheme with over 250 works of renowned French artist, Christian Boltanski. with ‘Squatters’ a site specific international the museum sets sight on them. Two contemporary art purchased, and over The audio work was commissioned by the Spring 2002 led up to the opening of a exhibition around the city. The SCS curators commissioned works were included in £1 million spent, on behalf of the fifteen South London Gallery to accompany his new extension and stunning new galleries at also participated in a public panel discussion A Sense of Occasion, a national touring museums in the Scheme. major exhibition ‘Les Abonnés du Téléphone’, Manchester Art Gallery, which will offer a with curators and directors in Portugal, at the exhibition organised by Craftspace Touring: a library-like installation of 3,000 telephone dedicated space for the display of SCS impressive new Museo de Serralves. A New Communion, by Maria Hanson In January 2002, Ceri Lewis replaced Jessica directories from around the world. The acquisitions of fine art and international originally commissioned by Birmingham Wallwork as Assistant Collections Curator. commission comprises audio recordings of furniture and lighting made through In March we organised a visit to the Museum & Art Gallery and Grayson Perry’s As well as assisting with the Special the names of 12,000 registered voters living the Scheme. Netherlands for curators from the four SCS Cl a i re ’ s Coming Out Dres s , 2000, Collection Scheme, Ceri oversees the many within ten minutes walk of the South craft museums, who are also members of commissioned on behalf of Nottingham gifts and bequests of work we receive on London Gallery. Many curators value the importance of this the Crafts Council’s Show 5 exhibition Castle Museum & Art Gallery. The tour behalf of member museums. Scheme and the opportunity it provides to consortium: Manchester Art Gallery; The extended to Cheltenham Art Gallery, Shire Nottingham Castle Museum & Art Gallery develop contemporary collections. Few wish Potteries Museum & Art Gallery, Stoke on Hall Gallery, Staffo r d, the Bowes Museum Three major commissions were completed commissioned Catherine Yass to produce a to surrender their position in the SCS. Several Trent; Nottingham Castle Museum & Art and Barna r d Castle, County Durham. through the SCS in early 2002. Simon work in response to their collection. At her curators managed to relocate to new jobs in Gallery; Birmingham Museum & Art Gallery. Patterson completed a stunning new suggestion and much to our delight and partnership museums. Toby Watley moved from The programme was co-organised with the Distribution Scheme commission for the Mead Gallery, University surprise, she produced a portrait of her the Ferens Art Gallery, Hull, to Birmingham Mondriaan Foundation, Holland, which Purchasing for the Distribution forged of Warwick. Patterson was invited to submit father-in-law, the first Asian Mayor Museum & Art Gallery and will oversee the supports cultural exchange between countries ahead during early 2001, with lecturer and a proposal for a large scale wall drawing for of Nottingham. last remaining purchases to be made through and co-funded staff at the Crafts Council to private collector, Thomas Frangenberg, the new social studies building on the the scheme on behalf of Birmingham. Godfrey accompany us on this visit. The programme purchasing several young and emerging University campus. Cosmic Wallpaper is In September 2001, we saw the opening of Worsdale, formerly Curator at Southampton included visits to key museums, galleries and British artists. Meanwhile, Lisa Corrin, based on a map of the constellations, in Birmingham’s Water Hall - a dedicated gallery City Art Gallery, was appointed Director of makers including Ineke Hans and Droog former Chief Curator, Serpentine Gallery, which the names of stars and planets have for the display of paintings purchased through Middlesbrough Art Gallery and will oversee design group. Two works by David Huycke, focussed on several artists from abroad. been replaced with song titles by the rock the scheme. Works purchased reflect some of the development of a new-build gallery for an established Dutch metalworker, were Thomas and Lisa shared on a joint band ‘Deep Purple’. Cosmic Wallpaper the concerns of painting over the last ten Middlesbrough to house the contemporary purchased directly from Galerie Marzee, purchase of Forever n ever, 2001, a large extends Patterson’s practice of playfully years and include work by Basil Beattie, Tony drawing collection. Margot Heller, Godfrey ’ s Nijmegen, for Birmingham’s collection. scale work by Turner Prize nominee subverting recognisable classification Bevan, Ian McKeever, Callum Innes, Jane pr edecessor at Southampton, took up as Fiona Banner. systems. The commission is an eighteen by Harris and Fiona Rae. The Water Hall has Di r ector of South London Gallery, and continues Loans seven metre convex wall drawing produced been given to the museum by the city council to develop the collection which represents Works purchased under the Special Several of their purchases have been on new digital wallpaper. in recognition of the importance of developing artists who live or work in South London. Collection Scheme are frequently requested requested for loan to temporary exhibitions. 10_CAS

Two basketry works by Gyöngy Laky and Systems Group of the 1970s and 80s and was The late Tom Bendham kindly gifted CAS a Christine Joy purchased by Barbara Taylor, married to the painter Malcolm Hughes. Her painting by Brian McCann. craft buyer, were included in Crossover, a family are kindly offering several paintings, touring exhibition initiated by Bury St gouaches and pastels to member museums. A private collection of early works by young Edmunds Art Gallery and toured to British artists, including Glenn Brown, Mat Wellbeck, Middlesbrough and Lincoln. John A. Walker Collection Collishaw, Michael Landy, Abigail Lane, Sarah A small scale collection from the art critic and Lucas and Paul Noble. Good Hiding by Henry Krokatsis, purchased art historian that includes paintings, posters, through the Distribution scheme by prints and ephemera of a political and pop This collection together with Tom Bendham’s Thomas Frangenberg, was lent to Sculpture art aesthetic gift, will be presented alongside the CAS in the Park, Mile End Park, 22 June to purchases at the next Distribution exhibition September 2001. Alison Wilding, Contract; eight monumental planned for 2004. sculptures on the theme of The Passion. This Gifts and bequests work was privately commissioned during the We would like to extend our thanks to all the Increasingly, the Contemporary Art Society period 1989 - 2000. volunteers who have provided us with is approached to help place a range of works invaluable support and enthusiasm in our from artists and collectors as permanent Nicola Hicks; a sculptural work based on work with museums over the last year. gifts or long-term loans to member museums. animal forms made in the early 1990s. The following artists works will be offered to member museums during 2002: Gustav Metzger, auto-destructive artist and Mary Doyle anti capitalist campaigner is offering large and Collections Curator Jean Spencer (1942-1998) small scale installations comprising objects, As a painter she was associated with the texts and photographs from his Historic Ceri Lewis loosely termed British Constructivists or Photographs series 1995-1998. Assistant Collections Curator

Simon Patterson, Cosmic Wallpaper, 2002 Commissioned on behalf of Mead Gallery, University of Warwick with funds from the Arts Council Lottery, 2002 ©The artist Langlands & Bell, Frozen Sky, 1999 Purchased on behalf of Mead Gallery, University of Warwick with funds from the Arts Council Lottery, 2001 ©The artists ©Photo: Anthony Oliver

Shin and Tomoko Azumi, Wire Frame Chair and Wire Frame Stool, 1998 Fiona Rae, Dark Star, 2000 Philip-Lorca diCorcia, Naples, 1995 Purchased on behalf of Manchester Art Gallery, with funds from the Arts Purchased on behalf of Birmingham Museum & Art Gallery, Purchased on behalf of Nottingham Castle Museum & Art Gallery, Council Lottery, 2001 ©The artists ©Photo: Julian Hawkins with funds from the Arts Council Lottery, 2001 ©The artist ©Photo: Prudence Cuming Associates with funds from the Arts Council Lottery, 2001 ©The artist 14_CAS 15_CAS Purchases for Special Birmingham Museum and Art Gallery Vestry Condiment, 2001, pewter, 2 x 8 x 8 gelatin prints, mounted, edition 6/6, 213 x 107 Langlands & Bell Middlesbrough Art Gallery Fine Art Pirouette Budvase, 2000, pewter, 16 x 7 x 5 Self Portrait, Fingers Standing, 1999, silver Frozen Sky, digitally controlled neon and Fine art Collection Scheme Simon Callery Ma n u f a c t u r er: A.R. Wentworth, Sheffield (Pewter) Ltd gelatin print, mounted and framed, edition 1/6, associated components mounted on white Francis Alys Rivose, 1992-2001, distemper, watercolour 66 x 84 board and powder coated aluminium frame, April 2001-March 2002 Hayley Lewin De Fluiter, 1999, 3 second animation loop and pitt charcoal on paper, 45 x 65.5 225 x 225 x 15 Tall Taper Vase, 2001, pewter, 44.5 x 10 x 10 Ross Sinclair (one hour) with soundtrack, edition 1/4, Stretcher, 1999, distemper and pitt charcoal All measurements given in Ma n u f a c t u r er: A.R. Wentworth, Sheffield (Pewter) Ltd Duff House #2, 2000, C-type print, edition 2/3 Melanie Manchot dimensions variable on paper, 48 x 67 centimetres, height, width, depth + 1AP, 94 x 76 The L.A. Pictures: Study for De Fluiter, 1991-1999, Pencil on Draught, 2000, distemper and pitt charcoal Robert Marsden unless otherwise stated. Duff House #5, 2000, C-type print, edition 2/3 David Kizirian kisses Barbarella, 2000 tracing paper on irregular shaped paper, 45.8 x 65 The End, 2000, rusted mild steel, 12.5 x 35 x 18.5 + 1AP, 94 x 76 James Bender kisses Cleopatra, 2000 Fiona Banner Jane Harris Klairat Brown-Dunn kisses Galileo, 2000 Graham Stewart Black Blind, 2000, graphite on paper, 292 x 150 22:33, 2001, pencil on Fabriano paper, 57 x 76 A Birds Voi c e , 2001, silver bowl, 11 x 15.8 (diam) Manchester Art Gallery Kenka kisses James Baldwin, 2000 Craft Alex Porter kisses Michael Jordan, 2000 Nayland Blake Jason Martin Hans Stofer Shin and Tomoko Azumi All lambda prints on aluminium, edition 4/5, Untitled (scar-lines), 2000, charcoal on paper, Se re n g e t i , 2001, acrylic on aluminium, 150 x 150 x 7 Deception, 1996, steel coated, plate, insect, Wire Frame Chair and Wire Frame Stool, 19 9 8 , 80 x 80 35.5 x 27.5 perspex, 31 x 23 x 25.1 Fiona Rae pr e-fabricated mesh, steel rod, 76 x 45 x 70 Untitled (eyes), 2000, coloured pencil on Wat e r f a l l , 2000, ceramic, steel coated, 15.1 x 32.6 x 29.4 Simon Patterson Dark Star, 2000, oil, acrylic and glitter on paper, 35.5 x 27.5 Ma i d e n , 2001, plate, steel coated, cage, lock, 9.1 x 30 (diam) Michael Noah Cosmic Wallpaper, 2002, digital wallpaper canvas, 246 x 203 Undulate (tall), 2000, cherry veneer chest of commissioned for the Ramphal Building, Untitled, (bandaged bunny), 2000, charcoal on Catherine Tutt Craft drawers, 110 x 39 x 42 University of Warwick campus, 667 x 1884 paper, 35.5 x 27.5 Twist Vase, 2001, pewter, 13.5 x 11 x 7 Helene Andreasen Kate Davis Twist Vase, 1996, pewter, 23.5 x 12 x 7.5 Claire Norcross Johnny Spencer Disc Oil Burne r , 1998, pewter and brass, 5 x 12 x 12 Mutual Betrayal 1 (Brancusi), 1994 Twist Vase, 1996, pewter, 33.5 x 13 x 5 850 Light, 2001, Standard Light with Russett How the Brain Works, 1997, laminate, paper Disc Oil Burne r , 1998, pewter and brass, 5 x 9 x 9 on panel, edition of 3, 81 x 57 Mutual Betrayal 2 (Picasso), 1994 Ma n u f a c t u r er: A.R. Wentworth, Sheffield (Pewter) Ltd Orange shade, base manufactured by Ferrious, 450 Disc Oil Burne r , 1998, pewter and brass, 5 x 7.5 x 7.5 The Mouflom, 1998, laminate, paper on panel, Mutual Betrayal 3 (Moore), 1994 Ma n u f a c t u r er: A.R. Wentworth, Sheffield (Pewter) Ltd Mari-Ruth Oda edition of 3, 82.7 x 58.5 Ferens Art Gallery, Hull Mutual Betrayal 4 (Laurens), 1994 Sit-able Sculpture, 2001, stoneware ceramics, Coffee Tables, 1997, laminate, paper on Sarah Dawe Fine Art All pin-pricked paper, 28.5 x 38.5 multiple, 35 x 70 x 60 panel, edition of 3, 81 x 57 Envelope Bottle Holder, 1998, pewter, 20 x 12 x 10 Jason Brooks The Poor, 1998, laminate, paper on panel, Till Exit Ma n u f a c t u r er: A.R. Wentworth, Sheffield (Pewter) Ltd Harewood Castle Self Portrait, 2001, acrylic on edition of 3, 82.7 x 58.5 Mead Gallery, University of Warwick Drawing ‘Untitled’ (Fallschirmspringer), 1999, linen, 86 x 101 Louise Gates Fine Art Catherine Yass acrylic on paper, 70 x 100 Slant Juice Jug, 1998, pewter, 28.5 x 10 x 6 John Coplans Layla Curtis Cinema: Regal, 2001, ilfochrome Drawing ‘Untitled’ (Vier Piloten), 1998, acrylic Pirouette Vase, 2000, pewter, 27 x 10 x 7 Self Portrait, Upside Down, No 1, 1992, silver A Fa m i l i a r Pl a c e , 2000, collaged EU road maps, 14 1 x 10 0 transparency, lightbox, 100 x 123.5 x 12.5 on paper, 63 x 100 16_CAS 17_CAS

Tobias Gerber Nottingham Castle Museum and South London Gallery green LEDs encased in vacuum-formed Towner Art Gallery, Eastbourne sound (7 minutes), 500 x 370 Horror Vacui, 1998, black and white video Art Gallery Fine Art plastic, 15/50, 9.4 x 2.3 x 1.7 Fine Art Cornford & Cross (14 minutes) edition 2/10 Fine Art Christian Boltanski Ceal Floyer Gavin Turk Childhood’s End, 2000, installation with DVD Zarina Bhimji Audio commission to accompany ‘Les Abonnés Door, 1995, projected light installation, Linda Karshan Bag 9, 2001, painted bronze, edition, 60.5 x 57 x 48 projection, single screen monitor and partition, Strange Domineering Tenderness, 1998, du Téléphone’, exhibition at SLG, 2002 1 masked 35mm slide, example 4 of 5 Untitled 31/7/01, Graphite stick on Arches ci b a c h r ome transparency light box, 105 x 88 x 16 edition of 3 paper, 76 x 56 Marc Camille Chaimowicz The Potteries Museum and Art Gallery, Tania Kovats Tom Hunter Untitled (8-second series) 25/7/00, Philip-Lorca diCorcia Pendulum Polaroids, 2000, polaroid Stoke on Trent St r i k e , 2001, acrylic composite, mdf, 85 x 162 The Vale of Rest, 2000, cibachrome print, Graphite Stick on Arches paper, 76 x 56 Naples, 1995, ektacolor print on 4 ply board, photographs, 56 sets, 143 images Craft x 109 edition 4/5, 121.9 x 152.4 Untitled 2/2/00, Graphite Stick edition 13/15, 76.2 x 101.6 Philip Eglin Daniel Pflumm Traveller X (Man with Road Closed sign), 1996- and Turpentine wash on Arches paper, Oliver’s Fantasy England Football Team, 2001, Whitworth Art Gallery, University of Ohne Titel, (Untitled), 1998, lightbox, edition 8, cibachrome print, edition 2/12, 76 x 56 Elisa Sighicelli clay, 56.5 x 46 x 43 Manchester 5/5, 75 x 133 x 15 58.5 x 61 Untitled 14/12/00, Graphite Stick on Arches Paris: Bed Edge, 2000, C-print on light box, Fine Art edition 1/3, 2 panels each 124.5 x 114.5 x 8 Laura Ford paper, 76 x 56 Donald Rodney Jonathan Callan Bear, 2000, glazed earthenware, edition 21/30, Worcester Museum and Art Gallery Flesh of my Flesh, 1996, photograph on Mao In Most Wan t e d , 2000, punched book, Rachel Lowe Craft Bear, 2001, glazed earthenware, edition 24/30, Fine Art aluminium, three panels, each 183 x 122 45 x 30 A Letter to an Unknown Person No. 6, 1998, Michael Brennand-Wood Bear, 2000, glazed earthenware, edition 23/30, Fiona Crisp Broken Sky, 2000, punched photograph on video for projection, edition 1/3 You Are Here, 1997, inlaid fabric, electric lights, each 19.7 x 20.3 x 31.8 Untitled No 4, 2001, C-type colour Ross Sinclair paper and mdf in perspex, 121.3 x 111 x 14.6 painted wood base, 175 x 350 x 4 Glasgow #1,1994, 2001, C-type print, edition Donkey, 2000, fabric, jesmonite, steel, 185.4 x photographic print mounted on aluminium, Chad McCail 1/3, 93.5 x 73 137.2 x 83.8 Tacita Dean edition 1/3, 180 x 120 x 3 Study for ‘Snake’, 2001, series of 4 gouaches Southampton City Art Gallery Fernsehturm, 2001, 6 colour photogravures on paper, each 107 x 86 Marysia Lewandowska & Neil Cummings Willie Doherty Fine Art Keith Tyson printed on Somerset White Satin 300gsm, Douglas Gordon Studio Wall Drawing, 2001, mixed media on Use Value, 2000, CD, edition of 3 Extracts From A File, 2000, 5 black and white Paul Noble edition 10/15, 30.3 x 77 Silence in the Museum, 1992, wall text, paper, 157 x 126 photographs on aluminium, edition 1/6, each Unified Nobson, 2001, DVD projection, edition Grayson Perry dimensions variable Ewan Gibbs 45 x 60 1/3 + 1AP, three minute loop Slave Ship, 1998, cotton and rayon, computer The New Art Gallery Walsall Travel inn, London, 2000, ink on paper, 30 x 42 Simon Grennan and Christopher Sperandio controlled embroidery, 150 x 250 Sophy Rickett Cornelia Parker Fine Art Astron Hotel Munich, 2000, ink on paper, 30 x 42 Hakim, 2000, vinyl wall painting, dimensions Forest 3, 2001, black and white photograph, Poison Drawing, Antidote Drawing, 1999, Rose Finn-Kelcey Richard Slee variable edition 1/5, 77 x 177 rattlesnake venom and ink, correction fluid House Rules, 2001, miniature circuit board with Rose Twig, 2000, ceramic with found object, Wolverhampton Art Gallery and antivenom, 2 parts each 61 x 61 Georgina Starr red LEDs encased in vacuum-formed plastic, 68 x 25 x 14.5 Fine Art George Shaw Explosion Drawing, 2001, charcoal, sulphur Crying, 1993, DVD for single monitor, 95/100, 9.4 x 2.3 x 1.7 Bl u e , 2000, ceramic with found object, 38 x 35 x Breda Beban Scenes from the Passion: The Path to Pepys and saltpetre, 63 x 63 (5 minutes), edition of 3 It Rules, 2002, miniature circuit board with 14 . 5 Let’s Call it Love, 2000, DVD projection with Co rn e r , 2001, Humbrol enamel on board, 43 x 53 18_CAS 19_CAS Distribution Scheme Buying art for public museums, on behalf in this country. After the demise of the It was a great privilege to be asked to be Two sculptures by American artists Gyöngy idiosyncratic but effective means of of the Contemporary Art Society, was an common perception that new British art is purchase work for eventual distribution Laky and Christine Joy presented themselves portraying natural forms in bizaare Buyers’ Reports 2001/02 extraordinary, and extraordinarily enjoyable, bindingly defined by the yBa canon, among member museums across the country. through a touring exhibition Crossover and wearable objects. In casting polystyrene experience. Having been taken through the exhibitions have become greatly diversified, It is no longer unusual for museums to collect represent the exciting work being made in Christoph Zellweger equally intelligently paces in an eye-opening session with Gill and a good deal of new voices deserve to be, contemporary craft or necessary to make the the States, arguably more adventurous and draws attention to a ubiquitous Hedley, I came to greatly enjoy the and are, now heard. With few exceptions arguments for purchasing work. confident than in this country. Both Henry contemporary material which has no value. intersection of private value judgement and (F. Banner, L. Gillick, N. Hirst and A. Toren) Contemporary craft pieces may be shown and Globe demonstrate an assured the public arena that is at the very heart of I have chosen among artists who have in the context of specialist collections that development of form and mastery of material Lisa Gallacher’s digital photographs of the CAS - to say it more flippantly, the CAS established their reputations within the last concentrate on a specific subject such as and stand to make an important contribution stitched female torsos have stayed with allowed me to put public money where my five or so years. In line with current practices, contemporary jewellery, in a varied collection to collections containing sculpture, vessels me since I first saw them, during the mouth is. Throughout the period I was a wide range of media are represented, of current craft, in the context of fine art and containers, traditional basketry or selection of arttextiles2 in 1999. I make no choosing works - a period all too brief as the ranging from various uses of photography collections or as a way of extending and contemporary textile. apology for purchasing a sewing machine money was committed within what seemed (Gottelier, Nicholson, Shez, Stehli) video updating historical collections of applied art. print a few years old as Gallacher is a only minutes - I encountered the fullest (Calderwood), painting (de la Cruz, Farquhar, Junko Mori’s forged steel sculpture is a very exciting artist who references textile support from artists and galleries, and I Toren), wall drawing (Musgrave, Titchner), I was aware of these different contexts while delight and defies dating or categorisation. in diverse work including digitally dare say we got some very good bargains. and sculpture (Griffiths) to works of difficult looking for work, and also of the restrictions The technical virtuosity is worn lightly and the manipulated photography and public art Throughout, I was allowed to aim for the most categorization, questioning the borderlines that most museums have on purchasing. As a object, a curio, reminds me of nothing so projects. This powerful image hits hard on interesting work available and if the price was between sculpture and installation (this holds, result I sought to fill gaps I had noticed from much as Victorian stumperies. first sight but also satisfies in the layers of beyond my budget for individual acquisitions among others, for Afrassiabi and Krokatsis). previous lists and to purchase work by artists references that can be drawn out on (in one case threefold), most satisfactory I stuck the CAS’s neck out in my firm belief I have long admired. Most importantly, I tried Both Lin Cheung and Nora Fok bring a sense longer contemplation. ag r eements could always be reached. I hasten that all of these works present major to make purchases of work that surprises and of humour to their jewellery, existing as much to add that one acquisition was made possible contributions to contemporary practice, and delights, questions categories and use of as independent forms as needing to be worn. by Lisa Corrin’s most kind offer to suggest a greatly hope that they will find caring homes. materials, and that might link in various Both employ materials with very little value, all Barbara Taylor work jointly, should I run out of funds. surprising ways to different types of the added value is a keen intelligence. Fok’s Purchaser for Craft existing collection. intricate crocheted nylon yarn is a wonderfully May 2002 Now some comments on what I suggested Thomas Frangenberg for acquisition. As I am best acquainted with Purchaser for Fine Art British art, I decided to focus on art produced November 2001 20_CAS Purchases for Fine Art Do-Ho Suh Purchases made by Lisa Corrin ‘Who Am We?’ (brown), 1999, iris print on Distribution Scheme Ken Aptekar Somerset paper, edition 6/10, 88.9 x 119.4 April 2001-March 2002 ‘If there was one ...’ , 2000, oil on wood, sandblasted glass, bolts, 76.5 x 76.5 Purchase made by Lisa Corrin and Thomas Frangenberg All works purchased for Distribution Mark Dion and J. Morgan Puett Fiona Banner Scheme will be presented to member The Ladies’ Field Club of York, 1999, suite Forever n ever, 2001, screen print on stainless museums in 2004 of 8 sepia photographs, hand painted text steel, edition 1/3, five panels, each 50 x 125 mounted on photographic board, each 50.8 Brian Griffiths, Return of Enos, 2000 All measurements given in x 40.64 Purchases made by Thomas Frangenberg ©The artist centimetres, height, width, depth Shahin Afrassiabi unless otherwise stated. Isaac Julien Jalousie Gelocht Als Blendschutz, 2000, After Mazatlan, 1999/2000, suite of 8 black mixed media, dimensions variable Buyers and white photogravures on Arches Cover Matt Calderwood Lisa Corrin White 250gsm, edition 3/10, sheet size Ground Experiment #1, 1998, DVD (5:45 min), Thomas Frangenberg 55.88 x 76.2, image size variable edition 2/8 Barbara Taylor Janice Kerbel Home Fittings (study for 242 Cambridge Angela de la Cruz Heath Road), 1999, pencil on paper, 72 x One Painting, 1999, oil on canvas, 370 x 340 102 Keith Farquhar Maria Marshall Woman I can hardly express, 2000, acrylic on Football Film, 2001, DVD, edition 5/5 canvas, 2 parts, 91 x 91 and 34.5 x 18 + 2 AP, dimensions variable Liam Gillick Terry Smith Double Back Platform, 2001, anodised Unnatural Acts, 2000, single screen video aluminium, opaque plexiglas (yellow 229, (20 min), edition of 3 orange 363) 6 x 120 x 120

Lin Cheung, Jewellery, 2001 Jemima Stehli, Table 1, 1997/8 ©The artist ©The artist 22_CAS

Luke Gottelier Mark Titchner dyed pigmented nylon ring, 18h A Hole, 1998, colour photograph, edition 1/3, So Near, So Clear, 2001, water-based paint Lisa Gallacher 81 x 122 on wall, dimensions for installation variable Sewing Machine (Figure 2), 1999, digital Brian Griffiths Amikam Toren print on C-type paper mounted on Return of Enos, 2000, mixed media (carpet, Armchair Painting, Untitled (Choose Death), aluminium, 160 x 110 cardboard, tape), 120 x 70 x 220 1995, oil on canvas, 51 x 61 Christine Joy Nicky Hirst Craft Globe, 2001, willow and red osier, 48.3 x Untitled, 2001, moulded plastic tiles and pins, Purchases made by Barbara Taylor 58.4 x 53.3 213.4 x 182.9 Lin Cheung Gyöngy Laky Henry Krokatsis from the series Jewellery, 2001: Henry, 1999, plum prunings with hand Good Hiding, 2001, wood (Douglas fir, pine, 24 Carat Gold Bracelet, 2001, woven painted wooden dowels, 48.3 x 33 (diam) English oak) latex, 350 x 250 x 250 polyester tape, silver, 40 l x 1 w 18 Carat Gold Bracelet, 2001, woven Carol McNicoll David Musgrave Deer, 2001, ceramic sculpture, 15 x 43 x 43 Mark Dion and J. Morgan Puett, The Ladies’ Field Club of York Mark Dion and J. Morgan Puett, The Ladies’ Field Club of York Mark Dion and J. Morgan Puett, The Ladies’ Field Club of York polyester tape, silver, 37 l x 1 w (Anthropology, Mrs Herbert Fowler) 1999 (Lepidoptery, Mrs E.N. Todter) 1999 (Conchology, Arabella Bell) 1999 Giant (4), 2000, emulsion paint, 1000 x 100 925 Silver Bracelet, 2001, woven polyester Junko Mori ©The artists ©The artists ©The artists Seamus Nicholson tape, silver, 32 l x 1 w #45 Organism, 2001, forged steel, dried Upper Crust, 1999, C-type print on Pearl Earpins, 2001, woven polyester tape, plants, 15 x 18 x 15 aluminium, framed, edition 1/5, 102 x 152 x 2 silver, 1.5h x 1w x 1d Diamond Earpins, 2001, woven polyester Steven Newell Shez 360 tape, silver, 2h x 1w x 1d Waggle Jug, 1999, blown glass, 53 x The Party, 1999, billboard (encapsulated 18 x 10 Nora Fok Durst Lamda print with wooden frame and Seedling, 2001, knitted, knotted, woven Christoph Zellweger backboard), 300 x 100 x 5 pigmented nylon ring, 33-35h Body Piece No.10, 1996, expanded Jemima Stehli Shoots, 2001, knitted woven pigmented polystyrene, 8 x 11.5 x 4 Table 1, 1997/8, black and white photograph, nylon ring, 12h edition 1/3, 130 x 241 Creeping Thistle, 2001, knitted, woven,

Issac Julien, After Mazatlan, 1999/2000 Issac Julien, After Mazatlan, 1999/2000 Issac Julien, After Mazatlan, 1999/2000 ©The artist ©The artist ©The artist 24_CAS 25_CAS Projects Report Continuing with the promotion of collecting a contemporary art collection for floors Presented and managed by CAS Projects, opportunity of highlighting the benefits of Issues discussed included: contemporary art through advice and 9 and 10 of the building. These floors are artists are given the opportunity to show work being a Membership organisation and also purchasing, CAS Projects has concentrated Directorate offices, private dining rooms in the distinguished architectural space the advice offered on building and developing • How to use corporate art sponsorship on the development of employee appreciation and the Board Room for Pearson. In total, designed by Alison and Peter Smithson. a collection and commissioning works of art. to meet business and brand building within its corporate client base and the sixty-seven works were purchased and The supported charity was The Whitechapel objectives promotion of young artists. artists included are: 6 June - 5 August 2001 Gallery with a special focus on East London • Integrating art with education De-Sign by Mark Bynon galleries. CAS Members shared their evening • The relationship between Art and CAS Projects continues its successful Linda Karshan, Andrew Bick, Jane Bustin, SCHEME by Luke Oxley at ART2002 with The Kyte Group, the Human Resources relationship with Unilever plc and the Malcolm Temple, Dawn Dupree, Edward Fair’s sponsor. and development and utilisation of its art Burtensky, Callum Innes, Gordon House, 22 August - 7 October 2001 • Art in a contemporary corporate culture collection. During 2001 Unilever, together with Victoria Stewart-Liberty, Sean Scully, Ian Untitled by Ingrid Sandsborg Fresh Art in July 2001 offered CAS Projects the guidance and assistance of CAS Projects, McKeever, Catherine Yass, Antoni Untitled by Chiaki Yano a unique opportunity to discover and CAS Projects worked with Stanhope plc on hosted in excess of fourteen private art tours. Malinowski, Keith Roberts, Martin McGinn, support works by young art graduates and their new office development at Mid City These private tours are for interested groups, Onya McCauslan, Dieter Peitsch, Carol 24 October - 18 November* independent artists without dealers. This Place, Holborn. Two large-scale works by not only wishing to view the art collection, but Robertson, Maria Laliac, Olav Christensen Carpet by Angela Wright was the newest fair to be launched at the Howard Hodgkin were purchased by High at the same time experience the interior of Jenssen, Danny Rolph, Brad Lochore, Urban Scan by Lesley Davy Business Design Centre and CAS Projects Holborn Estates Ltd and which are sited in Unilever House. Drawing on the success of Richard Smith, Stephen Chambers, Lucy was asked to select one work from each the main reception area of the building. these tours, CAS Projects has successfully Jones, Rupert Spira, Kate Palmer, Ray 9 January - 10 March 2002 participating art institution. Eighteen works launched an art club for the employees of Richardson and David Austen UNCUT by Mark Monaghan ranging from painting, print, photography, CAS Projects would like to thank Matthew Unilever offering them a changing exhibition ceramic and various contemporary craft were Poole for his continued support to The programme, artists’ talks, gallery visits and CAS Projects continues to advise on the 20 March - 5 May 2002 selected and exhibited on the CAS stand in Economist’s exhibition programme, Andrea highlighting selected works from their own marketing of these artworks and the Welcome Stranger by G-BRECHT the main body of the Fair. Bammuseher for her support at ART2002, contemporary art collection. During 2001, there support of Pearson as corporate Birdcage by Jane Watt Rose Bethell and Alison Storr for their support we r e a total of six temporary exhibitions held in contemporary art collectors. CAS Projects was again invited to participate during Fresh Art and special thanks to Sandra the Kingscote Restaurant at Unilever House. * The Economist requested an extension to in the series of Corporate Art Collecting and Mahon for her administrative, project and The Economist annual exhibition this exhibition to cover the Christmas period Management conference Benefits of invaluable general support during the year. Pearson plc took occupation of 80 Strand programme continues to excite and of December 2001 to January 2002 Corporate Art for Business, Managing: (formerly the headquarter building of Shell) in challenge its audience and has seen a An Integrated and Global Approach June 2001 and contracted CAS Projects to strong variety of media included in ART2002, the 14th London Contemporary Art (26 November -29 November 2001) held Cat Newton-Groves advise and manage on the development of the programme. Fair gave CAS and CAS Projects the in Brussels. Projects Director 26_CAS 27_CAS Members’ Events CAS promotes the collecting of contemporary Two CAS members hosted an evening visit to enterprise over drinks. At Vilma Gold, Gemma commissioned for this Mayfair home. Christmas drinks with Dominic Berning in his art and craft through its events. We depend their home in Highbury to view their diverse de Cruz and Cedar Lewsohn of Flash Art salon space on Hoxton Square. The grou p on the support of our members, whose private collection including works by Antony Ma g a z i n e explained the paintings of Russian November 2001 exhibition on show at Dominic Berni n g ’ s also contributions are often not only financial - Go r m l e y , Gerhard Richter and Naum Gabo. artists Dubossarsky and Vinogradov on show. Members made a late night shopping trip to included a work of light columns by Richman they also give their time, ideas and Our hosts explained how the collection had InsideSpace, a new art gallery inside Selfridges. on the roof which dazzled the roof terrace as encouragement. We organise events for our come together over the years. September 2001 At this special viewing, the space and works well as passers-by. members to facilitate engagement with a wide Phillips invited CAS members for a special on display were introduced, including a range of contemporary art practice. CAS Curator and art historian Jean Wainwright gave evening preview of seven days of specialist photographic installation by Mat Collishaw. February 2002 works hard to continue establishing contacts an evening talk to CAS members on avant- auctions and events at New Bond Stree t During one of the Sir John Soane Museum’s between collectors, artists, curators, dealers ga r de contemporary photography and its entitled Century of Change, which concentrated At the Royal Pharmaceutical Society in candlelit evenings, members had the and the public. Our events range from our fr ontiers within the context of contemporary art. on the last 100 years of British creative output. Lambeth, Michelle Charles’ exhibition of a opportunity to view Linda Karshan’s new Saturday contemporary art bus tours around series of works inspired by objects and ideas drawings and prints on show within the London (CASt), to visiting private and June 2001 The Annual General Meeting was held on Charles found in the collections of the RPS museum. Will Palin gave an introd u c t o r y corporate collections, artists’ studios, The 2001 international trip was to Basel, 26 September at the headquarters of British museum. This was the first ever showing of le c t u r e on the history of the Museum, followed lectures, and excursions to international Switzerland. The primary attraction was the American Tobacco. An illustrated talk by the contemporary art in its display cases. by the opportunity to listen to Linda Karshan biennials. We aim to enable access and Ba s e l Art Fair an d Li s t e (the fair for younger curators on the work that they acquired in conversation with Suzanne Cotter (Curator, understanding of contemporary art to an galleries). Over four days members toured the th r ough the CAS Lottery funded Special The Courtauld Institute hosted an evening visit MOMA Oxford). audience, we hope, that is broadening due in Kunsthalle with Director Peter Pakesch, visited Collections Scheme followed the meeting, to view Looking With/Out the biennial loan part to our efforts. Dieter Roth’s studio and the Beyerler along with the opportunity to tour the BAT exhibition of contemporary art organised and March 2002 Foundation. We also had the opportunity to collection, which includes the largest collection curated by a committee of students from the Members spent an evening at the Fleming April 2001 spend time with Pauline Vogelpoel Mann, of works by Rodin in private hands. college. Curators toured members through the Collection, one of the most important CAS members visited the Eyestorm showroo m pr evious CAS Director and valued supporter of collection, followed by a question and answer private collections of Scottish art, which in London, the online art forum offering limited CAS. A highlight was the visit to Schoenthal October 2001 session. Gill Hedley also talked briefly on the opened to the public in January in a newly edition modern and contemporary art and Monastery where members met the owner Invited to visit the private collection of a Tony Cragg works situated on the Terrace at converted gallery space on Berkeley Street. photography to a global market. John Schmidt and the artist Nigel Hall. pr evious Chairman of the American Crafts Somerset House - an exhibition organised by Selina Skipwith (Keeper of the Fleming Council, members discovered a collection of Contemporary Art Society Proj e c t s . Collection) explained the evolution of the May 2001 August 2001 mo d e r n and contemporary craft and ceramics collection and divulged the plans to A special morning tour of the Tacita Dean The members made a visit to Artwords sitting alongside works by artists such as December 2001 further develop the collection. Skipwith exhibition at Tate Britain was led by Sean Bookshop and Vilma Gold Gallery, both on Gilbert & George, Francesco Clemente, Andy A special evening viewing with the artist Martin then introduced the works on display Rainbird, CAS Committee Member and Rivington Steet. Ben Hillwood-Harris, Direc t o r Warhol and Julian Opie. Also of interest was the Richman at Rhodes + Mann of Richman’s including the temporary exhibition The Curator at Tate Modern. of the newly opened Artwords, explained his fu rn i t u r e - each piece was specially exhibition Come to Light was followed by Glasgow Boys. 28_CAS 29_CAS Member Museums Fine Art Ipswich Christchurch Mansion Preston Harris Museum & Art Gallery Craft Liverpool Walker Art Gallery Aberdeen Art Gallery Leamington Spa Art Gallery & Museum Rochdale Art Gallery Aberdeen Art Gallery Manchester Art Gallery Bedford Cecil Higgins Art Gallery Leeds City Art Gallery Rugby Art Gallery & Museum Bedford Cecil Higgins Art Gallery Manchester Whitworth Art Gallery, Belfast Ulster Museum Leicester New Walk Museum & Art Gallery Salisbury John Creasey Collection of Belfast Ulster Museum, University of Manchester Birmingham Museum & Art Gallery Lincoln Usher Gallery Contemporary Art Birkenhead Williamson Art Gallery & Museum Middlesbrough Cleveland Crafts Centre Blackpool Grundy Art Gallery Liverpool University of Liverpool Sheffield Graves Art Gallery Birmingham Museum & Art Gallery Newport Museum & Art Gallery Bolton Museum & Art Gallery Art Collection Southampton City Art Gallery Blackpool Grundy Art Gallery Nottingham Castle Museum & Art Gallery Bradford Cartwright Hall Liverpool Walker Art Gallery Stoke on Trent The Potteries Museum Bolton Museum & Art Gallery Oldham Art Gallery Bristol City Museum and Art Gallery London South London Gallery & Art Gallery Bradford Cartwright Hall Paisley Museum & Art Gallery Cardiff National Museum & Gallery London Tate Sunderland Museum & Art Gallery Bristol City Museum & Art Gallery Plymouth City Museum & Art Gallery Coventry Herbert Art Gallery & Museum Manchester Art Gallery Swansea Glynn Vivian Art Gallery Cardiff National Museum & Art Gallery Portsmouth City Museum & Records Service Doncaster Museum & Art Gallery Manchester The Whitworth Art Gallery, Swindon Museum & Art Gallery Cheltenham Art Gallery & Museum Preston Harris Museum & Art Gallery Eastbourne Towner Art Gallery University of Manchester Wakefield Art Gallery Coventry Herbert Art Gallery & Museum Sheffield Graves Art Gallery Edinburgh Scottish National Gallery of Middlesbrough Art Gallery Walsall The New Art Gallery Walsall Dudley Broadfield House Glass Museum Southampton City Art Gallery Modern Art Newcastle Upon Tyne Laing Art Gallery Warwick University of Warwick Mead Gallery Dundee McManus Galleries Southport Atkinson Art Gallery Glasgow Art Gallery & Museum Newport Museum & Art Gallery Wolverhampton Art Gallery Gateshead Shipley Art Gallery Stoke on Trent The Potteries Museum Glasgow Hunterian Art Gallery Norwich Castle Museum Worcester City Art Gallery & Museum Glasgow Art Gallery & Museum & Art Gallery Harrogate Mercer Art Gallery Nottingham Castle Museum & Art Gallery York City Art Gallery Halifax Bankfield Museum Swansea Glynn Vivian Art Gallery Hatfield Margaret Harvey Gallery, University Oldham Art Gallery Hove Museum & Art Gallery Swindon Museum & Art Gallery of Hertfordshire Oxford Ashmolean Museum of Art Huddersfield Art Gallery Wakefield Art Gallery Huddersfield Art Gallery & Archaeology Leicester New Walk Museum & Art Gallery War w i c k Mead Gallery, University of War w i c k Hull Ferens Art Gallery Plymouth City Museum & Art Gallery Lincoln Usher Gallery York City Art Gallery Income and Expenditure Un r estricted Funds Restricted Funds Total 31.03.02 Year ended 31.03.01 Gro u p Ch a r i t y £ £ £ £ Voluntary Income Fixed assets 31 . 0 3 . 2 0 0 2 31 . 0 3 . 2 0 0 1 31 . 0 3 . 2 0 0 2 31 . 0 3 . 2 0 0 1 Subscriptions & donations 84 , 3 7 1 35 , 1 0 8 11 9 , 4 7 9 74 , 3 9 9 £ £ £ £ Arts Council Award 45 , 0 0 0 - 45 , 0 0 0 45 , 0 0 0 Tangible assets 92 0 2, 2 7 0 70 2 1, 3 7 8 30_CAS Activities in furtherance 31_CAS In v e s t m e n t s 12 , 1 8 8 18 , 8 7 5 27 , 1 8 8 33 , 8 7 5 of the Charity objectives Fees 11 7 , 2 7 8 - 11 7 , 2 7 8 13 6 , 5 6 9 Works of art 45 , 1 9 5 45 , 1 9 5 45 , 1 9 5 45 , 1 9 5 Statement of Financial Arts Council Lottery funding - 39 8 , 2 0 8 39 8 , 2 0 8 28 7 , 1 9 1 Balance Sheet ————— ————— ————— ————— Lottery scheme contributions - 16 3 , 7 5 0 16 3 , 7 5 0 6, 2 5 0 58 , 3 0 3 66 , 3 4 0 73 , 0 8 5 80 , 4 4 8 Activities Other grants - 44 , 0 0 0 44 , 0 0 0 65 , 0 0 0 ————— ————— ————— ————— Ticket sales for events for members 12 , 9 0 9 - 12 , 9 0 9 11 , 2 0 5 Contemporary Art Society Group Other income 12 , 9 8 0 - 12 , 9 8 0 43 , 2 3 4 Cu r r ent assets Contemporary Art Society Group at 31.03.02 St o c k s 19 5 , 8 1 5 21 0 , 7 6 4 19 2 , 8 6 1 20 7 , 8 1 0 incorporating a consolidated Income Activities for generating funds The financial information set out on De b t o r s 41 9 , 7 3 7 44 0 , 0 4 3 37 6 , 0 3 4 43 9 , 7 9 4 & Expenditure account for the year Art Market sponsorship - - - 60 , 0 0 0 pages 30 and 31 is extracted from Short term deposits 29 8 , 1 9 6 23 1 , 5 8 4 29 8 , 1 9 6 23 1 , 5 8 4 ended 31.03.02 Investment Income the full accounts of the Society which Cash at bank and in hand 11 2 , 8 5 2 75 , 0 3 8 87 , 1 4 3 18 , 3 7 3 14 , 3 2 2 - 14 , 3 2 2 16 , 2 7 2 Interest and dividends were approved by the Committee on ————— ————— ————— ————— The figures all relate to continuing —— — — — —— — — — —— — — — —— — — — Total incoming resources 28 6 , 8 6 0 64 1 , 0 6 6 92 7 , 9 2 6 74 5 , 1 2 0 11 July 2002. Full audited accounts, 1, 0 2 6 , 6 0 0 95 7 , 4 2 9 95 4 , 2 3 4 89 7 , 5 6 1 operations and include all —— — — — —— — — — —— — — — —— — — — with the Trustees’ and auditors’ ————— ————— ————— ————— recognised surpluses and deficits. reports giving an unqualified opinion Resources Expended can be obtained from the Cr editors : amounts falling due within 1 year 12 7 , 5 6 1 11 0 , 9 5 4 69 , 9 7 7 65 , 1 9 4 Cost of generating funds Contemporary Art Society, ————— ————— ————— ————— Fundraising costs 27 , 8 0 4 5 , 1 1 5 3 2 , 9 1 9 2 8 , 2 9 1 17 Bloomsbury Square, London Net current assets 89 9 , 0 3 9 84 6 , 4 7 5 88 4 , 2 5 7 83 2 , 3 6 7 —— — — — —— — — — —— — — — —— — — — Net incoming resources available for charity 25 9 , 0 5 6 635,951 895,007 716,829 WC1A 2NG. ————— ————— ————— —— — — — —— — — — —— — — — —— — — — —— — — — Net assets £9 5 7 , 3 4 2 £9 1 2 , 8 1 5 £9 5 7 , 3 4 2 £9 1 2 , 8 1 5 Costs of activities in furtherance —— — — — —— — — — —— — — — —— — — — of charitable objectives Advice, training and collection support 11 9 , 3 3 6 73 , 4 7 6 19 2 , 8 1 2 21 9 , 3 0 7 Re p r esented by: Art purchases - 55 3 , 2 4 2 55 3 , 2 4 2 30 5 , 8 4 3 Restricted income funds 29 5 , 8 2 8 28 6 , 9 9 7 29 5 , 8 2 8 28 6 , 9 9 7 Art market - - - 63 , 6 2 6 Members’ events and support activities 41 , 1 2 1 - 41 , 1 2 1 36 , 3 4 2 Un r estricted funds 66 1 , 5 1 4 62 5 , 8 1 8 66 1 , 5 1 4 62 5 , 8 1 8 Management and administration 62 , 2 1 6 40 2 62 , 6 1 8 53 , 7 2 3 —— — — — —— — — — —— — — — —— — — — Oliver Prenn —— — — — —— — — — —— — — — —— — — — 22 2 , 6 7 3 62 7 , 1 2 0 84 9 , 7 9 3 67 8 , 8 4 1 Chairman, 23 July 2002 Total funds £9 5 7 , 3 4 2 £9 1 2 , 8 1 5 £9 5 7 , 3 4 2 £9 1 2 , 8 1 5 —— — — — —— — — — —— — — — —— — — — —— — — — —— — — — —— — — — —— — — — Total resources expended 25 0 , 4 7 7 63 2 , 2 3 5 88 2 , 7 1 2 70 7 , 1 3 2 —— — — — —— — — — —— — — — —— — — — Net incoming resources 36 , 3 8 3 8, 8 3 1 45 , 2 1 4 37 , 9 8 8 Revaluation of investments (6 8 7 ) - (6 8 7 ) 28 1 —— — — — —— — — — —— — — — —— — — — Net movement of funds 35 , 6 9 6 8, 8 3 1 44 , 5 2 7 38 , 2 6 9 Fund balances brought forward 62 5 , 8 1 8 28 6 , 9 9 7 91 2 , 8 1 5 87 4 , 5 4 6 —— — — — —— — — — —— — — — —— — — — Fund balances carried forward £661,514 £295,828 £9 5 7 , 3 4 2 £9 1 2 , 8 1 5 —— — — — —— — — — —— — — — —— — — — 32_CAS Acknowledgement to funders

CAS offers sincere thanks to all The Arts Council of England for their The Crafts Council for their significant individuals and organisations who have continued donation of fixed term funding, contribution towards the annual purchase helped us to extend our work, and in which provides CAS with the vital support of craft for the Distribution Scheme and particular the following. needed to develop our work with for partnership funding to the four museums. We thank the Arts Council museums developing craft collections Copyright of all images remains with Lottery Fund for their continued support of in the Special Collection Scheme. the artist and/or their estate. the Special Collection Scheme, which is enabling fifteen museums and galleries in England to develop challenging collections of contemporary art and craft. The Henry Moore Foundation for their generous contribution towards annual purchases of sculpture and video for the Distribution Scheme.

Scottish Arts Council for their support in the development of a new collecting initiative on behalf of museums, companies The Elephant Trust for their generous grant and individuals in Scotland. which has enabled the Society not only to realise CASt: Contemporary Art Society Tours, but has allowed its growth into a highly successful and popular event.