We promote the collecting of We promote the collecting of contemporary art through our gifts contemporary art through our gifts to public museums and the advice to public museums and the advice and guidance we offer companies and guidance we offer companies and individuals Contemporary Art and individuals Contemporary Art Society_Annual Report 2002/2003 Society_Annual Report 2002/2003

Bloomsbury House, 74-77 Great Russell Street, London WC1B 3DA T. 020 7612 0730 F. 020 7631 4230 [email protected] www.contempart.org.uk

Giant Arc Design / [email protected] CAS Artist Patrons Director Annual Report 2002/3 Sir Anthony Caro, OM Gill Hedley Bridget Riley, CH Projects Director Vice-Patrons Cat Newton-Groves until March 2003 Bryan Ferry David Gordon Collections Curator Caryl Hubbard Mary Doyle Pauline Vogelpoel Mann (1984-2002) The Lord McAlpine of West Green Assistant Collections Curator The Lord and Lady Sainsbury Ceri Lewis of Preston Candover The Lady Vaizey Events/Membership Manager The Viscount and Viscountess Windsor Wynne Waring

Committee Members Office Manager Oliver Prenn, Chairman Paula Hollings Pesh Framjee, Honorary Treasurer Mark Stephens, Honorary Solicitor ARTfutures Selector Lance Blackstone, Honorary Secretary Jeni Walwin Jolyon Barker until July 2002 Philip Hewat-Jaboor until November 2002 Accountant (part time) Doris Lockhart Saatchi Suzana Bakar Sean Rainbird until December 2002 Caroline Summerfield from February 2003 Accounts Assistant (part time) Babs Thomson Anna Bayraktar Edwin Wulfsohn 01_CAS Contents Co n t e m p o r a r y Art Society_Annual Report 2002 / 2 00 3

About Contemporary Art Society 02 Chairman’s Statement 03 Director’s Report 07 Museums Report 11 Purchases for Special Collection Scheme 19 Projects and Consultancy 22 Members’ Events 23 Member Museums 26 Statement of Financial Activities 30 Acknowledgement to CAS funders 32 02_CAS 03_CAS About Contemporary CAS has presented over 5000 works of CAS also organises ARTfutures, an annual Chairman’s Statement I place Gill Hedley first this year as it would Gill Hedley referred last year to the sad death contemporary art to its member museums selling event to encourage collecting and be all too easy among other headlines to of Tom Bendhem, one of the great benefactors Art Society th r oughout Britain since 1910 by artists from Henry support artists. overlook the fact that she celebrates 10 to the visual arts, and closely linked to CAS, Moore, Francis Bacon and David Hockney to years as Director of the Contemporary Art and we now learn that he has left us his The Contemporary Art Society actively Anthony Caro, Damien Hirst and Mona Hatoum. CAS individual members join in our events and Society. She shrewdly combines tradition studio in Chelsea, his entire collection, and a supports living artists, and for ninety activities because they have a curiosity about with innovation, and whether we talk of the substantial cash bequest. I make no apology years, has backed its own judgements CAS is a registered charity supported by or commitment to contemporary art. Special Collection Scheme, the move to for the fact that you will read an almost about which works of contemporary its members and grants from Arts Council Bloomsbury, the continuing pleasures of identical tribute in Gill’s report. art should be presented to public England, Arts Council London, The Henry CAS is an active conduit for gifts and ARTfutures, our still new relationship with museum collections. Moore Foundation, the Scottish Arts Council, bequests, enabling private collectors to enrich the Scottish Arts Council or events at You will have read in successive reports the Esmée Fairbairn Foundation and the collections through Britain and have their and abroad, Gill will have made a singular about the Special Collection Scheme, in which I cannot overestimate the benefits to Gulbenkian Foundation. names linked with their gifts in perpetuity. contribution of effort, integrity and humour. 15 museums participate, and of which the artists and museum visitors provided by I thank her warmly on behalf of all the principal funder is the Arts Council England CAS. It plays a vital role in supporting CAS continues to raise funds to benefit CAS encourages individuals to collect members, and wish her many more years Lottery Fund, with a total value of £3.5m. This and spreading enthusiasm for the work ninety-six collections in England, , contemporary art and enjoy art by living artists. in a developing role. has been proving a great success and has led, of living artists throughout the country. Wales and N. Ireland. An extensive range of events, visits to studios directly or indirectly, to our developing a similar Richard Cork and private collections, lectures and overseas Pauline Vogelpoel Mann, however, set a relationship with the Scottish Arts Council, CA S has secured major Arts Council of England trips, are advertised in a regular newsletter. record which it will be difficult to match. which involves six museums and in excess lottery funding on behalf of 15 member She was Organising Secretary from 1956, of £500,000 from the Lottery, SAC and each museums and Scottish Arts Council lottery For further information and membership re-named Director in 1976, and stayed until museum. Members recently visited Scotland funding on behalf of a further six museums. forms please contact: 1982, a total of 26 years. As recently as for four days to see for themselves. Wynne Waring 2001, she advised on and participated in CAS raises funds for its museum purchases Contemporary Art Society a memorable members’ trip to Basel. We We are often asked where our funds come through advice to companies wishing to Bloomsbury House, 74-77 Great Russell Street were aware of her serious illness and she fr om and the answer is the kindness of friends develop corporate collections and consultancy London WC1B 3DA sadly died on 22 December 2002. I would rather than of strangers. I ref e r r ed above to work for individuals and institutions. love to quote the Times obituary (26 Tom Bendhem, Arts Council England and The Telephone 020 7612 0730 December 2002) in full which includes Scottish Arts Council; none of us has forgo t t e n CAS offers professional guidance to those Facsimile 020 7631 4230 such statements as “she invented art Nancy Balfour and her family; I must add to developing contemporary collections or Email [email protected] tourism” - but space precludes. She will these The Henry Moore Foundation, the Esmée commissioning art or craft. or visit our website at ww w. c o n t e m p a r t . o r g . u k be much missed. Fa i r b a i r n Foundation, Arts Council London, 04_CAS

The Fine Family Foundation, The Tru s t h o u s e Charitable Foundation, Catching Comets donors, member museums and private members themselves. We are immensely grateful to all of the above but it is never enough to buy all the art we want to enliven our museums; please dig a little deeper and send us a donation in time for our next distribution in 2004.

ARTfutures was again successfully held at the City of London School in April, achieved a turnover of £155,000 and made many buyers and artists happy. It remains free to enter and carefully selected. See Gill’s report.

Sean Rainbird, Curator of Contemporary Art, Tat e , resigned in December after several years’ valuable service on the Committee. Caroline Summerfield joined us in February 2003. I thank Sean and welcome Caroline. Good news is that Vicente Tod o l í , new Director of Tate Modern, joined the Committee on 10th July 2003 and is also warmly welcomed.

I end by thanking my colleagues on the Committee, and all members of our devoted staff: the faces do change but the level of commitment is always high. Catherine Yass Lord Mayor, 2002 Commissioned on behalf of Nottingham Castle Museum Oliver Prenn & Art Gallery. Chairman ©The artist 07_CAS Director’s Report It always feels strange to summarise a year ARTfutures because of the pleasure that it that is defined by the financial year end rather gives to both buyers and artists. One artist than the calendar but now that ARTfutures said ARTfutures was the most professional, begins and ends our year, I have a clearer profitable and speedy process that he’d ever picture in my head. been involved in. What a compliment to all those named above to whom, as ever, I want April has been described as the cruellest to extend my gratitude for all the work they month - and certainly the hardest work for do and the wonderful atmosphere that us. In both April 2002 and 2003 we were they create. honoured to be the guests of the City of London School during their Easter vacation CAS staff increasingly have so many more enabling us to stage ARTfutures and its projects to work on that ARTfutures is 1000 works in a beautiful building facing largely run by freelance support but Paula the Thames and Tate Modern and right next Hollings, Office Manager, Wynne Waring, to the Millennium Bridge. Membership and Events Manager, and Anna Bayraktar, Accounting Assistant, We are indebted to the Headmaster, his also found time to play an active part in staff, especially the Bursar, and his Trustees, this,our most public annual event. Wynne among whom is Edwin Wulfsohn who is also writes elsewhere (page 23) about the events a CAS Committee Member and made the that she has organised in the busy year link for us. We are very grateful to them all. since she joined us.

Jeni Walwin directed the event with the Mary Doyle and Ceri Lewis, Collections support, for both years, of Kerry Duggan and Curator and Assistant Curator, spend Kelly Carmichael, assisted this year by Steven much of their time travelling around the van Grinsven. Clive Garland and his team, country and beyond, looking after curators and a group of energetic and enthusiastic and enabling them to make adventurous Jananne Al Ani sellers, packers and store-keepers helped to purchases. It may sound like a dream job but Veil, 1997 (detail) Purchased on behalf of Ferens Art Gallery, Hull. give the event its usual integrity, substance it is a huge task and they undertake it with ©The artist and style. It is hugely exciting to be part of consummate skill. Their report is on page 11. 08_CAS 09_CAS

I want to pay tribute to the way in which every We also want to pay tribute to the efforts distinguished and much loved art world of glass or ceramic and it will be a pleasure public - in Scotland and, in September 2002, normally I turn to Oliver first whether with one of the staff at CAS supports each other, made by the committee that runs Blood, figures have died, all closely associated to honour him with a gift to a museum in learned that we had been awarded further good news or bad, or simply a problem. and me, by their flexibility and commitment to our email-based new membership initiative with CAS. We have lost David Brown, David this way. funds which, with contributions from the He is unfailing with his good advice and the essential aim of CAS - support for artists, (see www.bloodarts.org) - especially Sylvester, Bryan Robertson and, only weeks museums themselves, amount to £500,000 thoughtfulness and devotes himself equally members and museums. Obi Felten, its Chair. Blood was launched ago at the time of writing, Joanna Drew: all In the last annual report, I mentioned our for a National Collecting Scheme for to tackling the essential irritants of a officially in October 2002. CAS Committee Members and buyers, and sadness at the death of Tom Bendhem, Scotland for six museums from 2003-6. small arts organisation and celebrating This triumvirate is listed simply A-Z here: no whose reputations remind me that, in this whose name belongs in the list of “giants” My thanks are due to all colleagues at SAC, the triumphs. Oliver is both Chairman and one element is less important than the others In November 2002, CAS had to move for role, “if I have seen further it is by standing above. In recent weeks, we have learned especially Amanda Catto and Wendy Law, an active CAS member - he buys from and each member of staff plays a distinctive only the second time in its long history. on the shoulders of giants”. what a true friend and extraordinary and colleagues in museums throughout ARTfutures, comes on bus trips and relishes part in that aim, supported by Suzana Bakar, Having returned to Bloomsbury in 1997, man Tom was. Scotland for their faith in us. overseas visits. His energy and commitment our Accountant, whether helping to raise our where we were conceived, I am delighted that In December 2002, we also lost one of CAS’ are much appreciated by everyone and funds or spending them. we have moved only to the other side of the most memorable and adored figures: Pauline He has made bequests to many of the arts The Esmée Fairbairn Foundation has given us are inspiring. road to very elegant and spacious premises. Vogelpoel OBE, who as Organising Secretary organisations he so generously supported funds to allow three Scottish museums to join Cat Newton-Groves and Sandra Mahon, Visiting Arts, the organisation that supports and Director, defined CAS and its style but CAS has been singled out. Not only has or rejoin CAS and we are indebted to them as He and I want, in turn, to thank all the Projects Director and Administrative incoming artists and administrators to the from 1956-1982. On behalf of all staff and Tom left us his beautiful studio, a valuable we are to our other benefactors who support Committee Members for their time, good Assistant, and Matthew Poole, Curator of UK, have moved to the floor above us, which Committee members over the decades, I property, but also his entire art collection and our purchases and our running costs: The humour and wisdom. Jolyon Barker and The Economist programme for CAS, all left opens up all sorts of possible collaborations. want to acknowledge the importance of her a substantial cash bequest. We are working Henry Moore Foundation, the Arts Council Philip Hewat Jaboor have now left us and, in March 2003. I want to record my thanks role in making CAS so well loved. The annual with his executors to find the appropriate of England and all those, especially The after a very long period of informed support for all their work with The Economist and Paula Hollings organised the search for reports during her tenure simply summarise and most celebratory ways of honouring Trusthouse Foundation, who have supported and judicious purchasing for us, Sean Unilever, and, in Cat’s case, for the five years premises as well as the move and all of her her many achievements so I hope this one this remarkable patron of the arts. Catching Comets. The Chairman pays his Rainbird finally persuaded us to accept his of devotion to successful projects with BUPA, colleagues were grateful for the burden she can be a testament to her. tribute to them all on page 3. I would like resignation. We are delighted to welcome Seagram, Pearson, Stanhope, Somerset shouldered. Paula left in early May 2003 with This wonderful and unexpected news leads to single out Sibyl Fine King whose support Caroline Summerfield to the Committee. House, ARCO in Madrid, the art fairs at the our best wishes and thanks. Liz Cooper has In March 2003, Brian Willis died. With Greg me to the other highlight of 2002/3. for our work, including The Fine Family She has been an active CAS member for BDC and Fresh Art. We wish them all well taken over as Office Manager, having learned Worth, he was one of the most delightful of Foundation’s donation which enabled us several years and we look forward to her in their new ventures. all about us while working at ARTfutures. travelling companions on so many CAS trips Over several years, I have been in negotiation to invite the Curator of the Guggenheim advice, especially regarding property law. and, along with many of his friends and fellow with the Scottish Arts Council about the Museum in Venice to give a lecture on the We all want to thank the wonderful 2002/3 has brought sadness and joy and it’s CAS members, I was immensely touched to creation of a national collecting scheme for splendid Peggy Guggenheim, is much valued. With new premises, the Tom Bendhem volunteers and interns that have worked so difficult to know how to order these events. hear during a eulogy at his funeral just how Scotland. In April 2002, we were awarded Bequest, the National Collecting Scheme for closely with us over the last year: Kate Reid, much those travels had meant to them both. £65,000 from the Lottery through SAC to help Finally, it is Oliver and the Committee Scotland starting and the Special Collection Stephanie Taylor, Angela Williams. Over the last year or so, many very Brian has left £5,000 to CAS to buy a work develop collecting - private, corporate and Members to whom I turn. Unusually, because Scheme ending its first phase of funding, 10_CAS 11_CAS CAS is looking forward with even more Museums Report It is exciting for us to see museums’ purchases of the artists’ paintings through bounce in its step to the next year. collections take shape as works are SCS. The exhibition explored the links purchased for the Special Collection between painting and drawing by looking at For me, it will be a new decade as I Scheme (SCS) throughout the year. The the way each of these artists uses drawing joined CAS in 1993. It has been the most public are now also able to see the fruits to articulate ideas in their painting. In extraordinary ten years of my career and of the Scheme and the strength of the addition the display included a recent I am well aware of the support that I have regional collections, with several museums CAS gift of pastels and drawings by relied on from colleagues, committee highlighting their acquisitions in specific Jean Spencer. members, individual members, artists displays and major exhibitions. and all those who care for CAS. The strength of the growing collection at In November the Towner Art Gallery, Nottingham Castle Museum & Art Gallery In 1993, the Chairman, David Gordon, Eastbourne, presented Landscape? New has led to the museum being awarded a wrote in the annual report “What is the Definitions through the Contemporary Art £20,000 Regional Lottery grant to initiate Contemporary Art Society for?” I have Society Special Collection Scheme 1999- Drawing with Light, a citywide photography enjoyed answering that for the last 2002. The works, in a range of media, by festival which takes place in September ten years and have plenty of new Tania Kovats, Joachim Koester, Rut Blees 2003. The festival aims to celebrate diversity questions of my own to take us up Luxemburg, Ceal Floyer and Zoe Walker, of practice in contemporary photography, to our centenary in 2010. referred to Eastbourne’s geographical and will include purchases made through position as a coastal town on the edge of the scheme. These include a series of colour England, whilst challenging the concept of photographs of contemporary Iran by Gill Hedley what we term ‘landscape’. These works also Shirana Shahbazi who subsequently was Director reflected on the fragility and monumentality awarded the Citibank Photography Prize, of nature. The exhibition also included earlier 2002, and works by Wolfgang Tillmans who CAS gifts of a painting by James Hugonin has a major restrospective at Tate Britain in and a drawing by Graham Gussin. 2003. Two makers, Maxine Bristow and Shelly Goldsmith, purchased for the craft In January, Birmingham Museum & Art collection at the museum, were shortlisted Gallery opened Drawing Parallels, works on for the Jerwood Textile Prize, 2002 paper by Basil Beattie, Simon Callery and exhibition, which Shelly Goldsmith Jane Harris, accompanied by earlier subsequently won. 12_CAS 13_CAS

SCS Comissions SCS Loans Two of four graphite drawings by Linda George Shaw, Scenes from the Passion: Distribution 2004 Gifts Karshan (coll. Middlesbrough Art Gallery), The Fourth of November, 2002 (coll. In collaboration with Opera North, The profile of our regional collections were loaned to the artist’s first solo Birmingham Museum & Art Gallery), was The buyers for the Distribution Scheme This year the Contemporary Art Society the artist Mariele Neudecker has been nationally and internationally increases, with exhibition at IVAM, Institute of Modern Art, loaned to Days Like These, Tate Triennial, have been appointed for 2003 and was approached by individuals, collectors commissioned by Leeds City Art Gallery a significantly higher number of fine art and Valencia, 16 May to 7 July 2002, followed London, 26 February to 26 May 2003. His we are delighted to welcome Patricia Bickers and institutions to help place a range to make a filmic response to Schubert’s craft loans than in previous years, both here by three drawings to her show at Kettle’s Scenes from the Passion: The Path to (Editor, Art Monthly) and Andrew Patrizio of works as permanent gifts to CAS song cycle Winterreise (A Winter’s and abroad: Yard, Cambridge, 11 January to Pepys Corner, 2001 (coll. Worcester City (Director of Research Development, member museums. Journey). Earlier this year Mariele visited 2 March 2003. Art Gallery) was loaned to Micro/Macro: College of Art) for fine art, and Charmian snow-scaped locations, based on the Ceal Floyer’s Door, 1995 (coll. Towner British Art 1996-2002, Budapest. Adams (private collector) for the craft Six paintings, two reliefs and several sixtieth degree of latitude, in the Art Gallery, Eastbourne), was loaned to Chad McCail’s 4 digital prints from his scheme. They are based in different locations pastels and drawings by the late Jean Shetland Islands, Helsinki, Oslo and St. Bang: When Seeing is Blinding , Canadian Snake series (coll. Wolverhampton Art Gerhard Stromberg’s Albertblock around the country, which will encourage the Spencer (1942-1998) were presented to Petersburg. Mariele’s film is being Cultural Centre, Paris, 20 June to Gallery), were loaned to Smart Project photograph, 2001 (coll. Worcester City Art purchase of a breadth of work and inevitably the following member museums: presented as an integral part of a live 14 September 2002. Space, Amsterdam, 13 September to 22 Gallery), toured to Or So It Seemed, bring new artists to our attention. Birmingham Museum & Art Gallery; performance of Winterreise organised December 2002 and, Micro/Macro: British Northern Gallery for Contemporary Art, , University of by Opera North, at venues in Glasgow, No Escape, 2000 by Shelly Goldsmith and Art 1996-2002, Budapest, 21 March to Sunderland, 6 September to Several purchases made through the Manchester; ; Leeds, York, and Nottingham. Life Study I: Caribbean, 2000 by Shizuko 1 June, 2003. 2 November 2002. Distribution scheme were requested for Mead Gallery, University of Warwick and Kimura (coll. Nottingham Castle Museum loan to exhibitions in the UK and abroad: Southampton City Art Gallery. We would South London Gallery commissioned & Art Gallery), were included in the Jerwood Grayson Perry, Slave Ship, 1998 (coll. Catherine Yass, Cinema: Regal, 2001 (coll. like to acknowledge our gratitude to a new sound installation by William Textile Prize 2002. The Potteries, Stoke on Trent), was loaned Mead Gallery, University of Warwick), was Liam Gillick’s Double Back Platform, Marion Waters, Jean’s sister, for her Furlong which accompanied an to the artist’s first solo exhibition Guerrilla loaned to Cinema India: The Art of 2001, was included in his first major solo generosity in gifting these works, which exhibition celebrating thirty years of the An extended loan of Maria Hanson’s A New Tactics, at the Stedelijk Museum, Bollywood at the V&A Museum, London, show The Wood Way, at the Whitechapel have made such a significant contribution Audio Arts archive. Come and See is an Communion, 13 silver cups and chalice, Amsterdam, 18 May to 25 Aug 2002, 26 June to 6 October 2002. Art Gallery, London, 3 May to 23 June 2002. to each collection. intriguing recording of an invited cross (coll. Birmingham Museum & Art Gallery) followed by the Barbican Art Centre, section of adults and young people and Grayson Perry’s Claire’s Coming Out London, 21 Sept to 3 Nov 2002. Field of Silver: Silver in a Field, 2002, the Mark Dion and J. Morgan Puett’s The Ladies CAS was saddened to hear of the living and working in Peckham and Dress, 2000 (coll. Nottingham Castle work of ten silversmiths (coll. Birmingham Field Club of York, a suite of 8 sepia death of Stuart Morgan, critic, curator Camberwell. As visitors walked through Museum & Art Gallery) went to A Sense of Birmingham’s purchase of Dark Star, 2001, Museum & Art Gallery), was loaned to the photographs was loaned to The Aldrich and writer. The gift of five works from his a corridor they experienced a sense of Occasion: significant objects marking by Fiona Rae was loaned to her solo Scottish Gallery, Edinburgh 1 - 31 July Museum of Contemporary Art, Ridgefield, private collection will be presented to place and time, through the humour, diverse contemporary occasions, at Welfare exhibition at Carre D’Art Musee d’Art 2002, and toured to Detail Zwo, Connecticut, followed by The Joseloff Gallery, member museums during the next passions and beliefs of the local State International, Cumbria, 3 July to Contemporain, Nimes, 11 October to Düsseldorf, 14 September to University of Hartford, Connecticut, to distribution exhibition in 2004, in inhabitants. 31 August 2002. 5 January 2003. 20 October 2002. March 9, 2003. his memory. 14_CAS

The John A. Walker archive collection of Harbour, 1994-96. various 1970s political paintings, prints, art texts and posters, including work by Art & As the end of the scheme approaches Language, Derek Boshier, John Latham, for all but one of the museums, the Lawrence Weiner and Peter Kennard, Andy pressure is on to make final decisions on Warhol and John A. Walker, has at his request purchases. More exciting commissioning been gifted to Wolverhampton Art Gallery. projects are currently underway. Research This gift complements their existing collection visits have been focused on purchasing, of contemporary works on political and social with the exception, of course, of a group George Shaw themes, purchased for the collection through visit to Documenta 11 and Manifesto 4 in Scenes from the Passion: The Fourth of November, 2002 the SCS scheme. Germany. The value of international visits Purchased on behalf of Birmingham Museum & Art Gallery. has been enormous in providing a global Courtesy: Anthony Wilkinson Gallery, London. Photo: Peter White. We were thrilled to receive a significant gift context and harnessing curators’ ©The artist this year under the auspices of the Henry ambitions for their collections. Moore Foundation. Alison Wilding was Overleaf from left to right commissioned by our anonymous donor to In the light of our new National Collecting Marcel Wanders make a series of sculptures on the theme Scheme in Scotland, launched this spring, Knotted Chair, designed 1996, manufactured by Cappellini, 2002 of “The Passion”. This was an extremely CAS and museums are discussing a Purchased on behalf of Manchester Art Gallery. challenging undertaking for the artist over a strategy for the future of SCS. Now the Photo: Manchester Art Gallery. ©The artist period of almost twelve years and resulted in focus is to ensure we continue this eight remarkable monumental sculptures. So scheme beyond 2004, and furthermore Niels van Eijk Bobbin-Lace Lamp, 2001 far, four museums have been delighted to be mark and celebrate the enormous Purchased on behalf of Manchester Art Gallery. offered the following works from the series achievements of this unique scheme. ©The artist Contract (1989-2000): Norman Cherry Asymmetry, 2002 Leeds City Art Gallery, Cold Face, 1997; Mary Doyle Purchased on behalf of Birmingham Museum & Art Gallery. ©The artist Manchester Art Gallery, Red Skies, 1992; Collections Curator Whitworth Art Gallery, University of Michael Rowe Conditions for Ornament No 28, Lidded Container, 1996 Manchester, Deep Water,1989; Ceri Lewis Purchased on behalf of Birmingham Museum & Art Gallery. Tate, Assembly, 1991 and Assistant Collections Curator ©The artist

19_CAS Purchases for Special Birmingham Museum & Art Gallery held at Bishopsland, Oxfords h i r e, in Fine art September 2002. Collection Scheme George Shaw (b.1966) Various works: silver, organic materials and Scenes from the Passion: The Fourth of found objects All measurements given in November, 2002 Purchased from the project exhibition at centimetres, height, width, depth Humbrol enamel on board Gallery Flow, London, May 2002. unless otherwise stated. 77 x 101 David Huycke (b.1967) Craft Bolinder 1, 2000 Norman Cherry (b.1949) Copper, raised, the surface with overall Fecundity, 2002 punched decoration, ed. 1/7 Woven silver vessel with gold grains 30 x 16 25 x 8 x 6 Multirond 7, 1999 Asymmetry, 2002 925 Silver, raised and planished, ed. 2/7 Woven silver vessel 4.6 x 33.3 18 x 9.5 x 9 Alistair McCallum (b.1953) Ane Christensen (b.1972) Tall Vase, 2002 Shredded bowl, 2002 Mixed metals, worked in the mokume Mild steel sheet, laser-cut, welded and gane technique powder coated 14 x 40 x 30 Michael Rowe (b.1948) Conditions for Ornament No. 29 David Clark (b.1967), Maike Dahl (b.1969), Conical vase, 1997 Hilde De Decker (b.1965), Andreas Fabian, Brass, gold leaf finish Howard Fenn (b.1953), Felix Flury (b.1959), 43 x 26 x 26 Simone ten Hompel (b.1960), Chris Knight Conditions for Ornament No. 28 Zoe Walker (b.1969), Alistair McCallum (b.1953) and Lidded container, 1996 Somewhere Special,1999-2001 (detail from installation) Purchased on behalf of Towner Art Gallery, Eastbourne. Christopher Zellweger (b.1962) Brass, gold leaf finish ©The artist A Field of Silver: Silver in a Field, 2002, 36 x 21 x 21 20_CAS 21_CAS

Ferens Art Gallery Free blown glass, partially mould blown to Steel alloy frame with rubber top Mona-04, 2000, C-type print, 56 x 68 of Nottingham Castle Museum & Art Gallery Slide installation, 4 projectors, 2 CD players, Fine art create a raised floral pattern, produced by 50 x 32.5 x 70 Dara-01, 2000, C-type print, 56 x 68 Ilfochrome transparency, lightbox 105 slides, 2 CDs, ed. 3/5 Jananne Al-Ani (b.1966) Simon Moore at Dartington crystal, ed. of 6 Mohammed-01, 1999, C-type print, 27 x 34 71.5 x 87 x 12.5 Dimensions variable, projection 2.4 x 3.6m Veil, 1997 30 x 20 Robert Kilvington (b.1967) Manzareh-50, 2000, C-type print, 27 x 34 5 slide phase projection installation, ed. 1/3 Wednesday Light with resin drips, 2002 Flat Pack Chair (unfinished), 1999 Dokhtar-04, 2000, C-type print, 27 x 34 Craft Zoe Walker (b.1968) Dimensions variable Etched stainless steel, red resin Unfinished oak, stainless steel pin Tehran-08, 2000, C-type print, 34 x 43 Maxine Bristow (b.1962) Somewhere Special, 1999-2001 28 x 20 x 20 80 x 45 x 60 Tehran-01, 2000, C-type print, 65 x 86 Doing without: Sustaining 7 Square metres , 1999 Installation including mountain (denier nylon, guy Manchester Art Gallery Wednesday Cabinet, 2001 Textile (felted wool, tapestry wool, cotton, ropes, tent pegs, model-maker trees), Xpelair Fine art Wood framed cabinet, stamped (embossed) Marcel Wanders (b.1963) Wolfgang Tillmans (b.1968) gesso) in three parts fan, TV monitor & wall mount, DVD (6 minutes, Alex Hartley (b.1963) stainless steel, red resin Knotted Chair, designed 1996, manufactured Sheet Two, 2001 Each 163 x 124 x 8 90 minute loop) and Lambda print on aluminium Untitled Condemned (Rachel Point), 1998-2001 160 x 60 x 20 by Cappellini, 2002 C-print, ed. 5/10 + 1 AP Mountain 550 x 340 x 249, Lambda print Satin etched glass, black & white photograph Carbon centred aramid fibre, epoxy resin 40 x 30 South London Gallery 50 x 76, installation dimensions variable on MDF Niels van Eijk (b.1970) 73 x 53 x 64 Wohnung Köln, 1998 Fine art 200 x 90 x 30 Bobbin-Lace Lamp, 2001 C-print, ed. 6/10 + 1 AP William Furlong (b.1944) Wolverhampton Art Gallery Fibre-optic cable Middlesbrough Art Gallery 30 x 40 Come & See, 2002, Audio commission for Fine art Tatsuo Miyajima (b.1957) 82 x 45 (d) Fine art Still Life, Herald Street, 2000 SLG. 8 track hard disc programme for 8 Chad McCail (b.1961) Floating Time V2-C-12, 2002 Edward Pien (b.1958) C-print, ed. 8/10 + 1 AP loudspeaker panels Love is rooted in Sharing and Trust CD-rom projection with computer and David Grimshaw Dance Macabre, 1999 30 x 40 Dimensions variable Everything is alive custom-built table Dip Table, 2000 Suite of 19 ink drawings framed in one set Icestorm, 2001 Courage is stronger than fear Dimensions variable Oak sawdust, powder coated mild steel Overall dimensions: 100 x 154 C-print, ed. 1/10 + 1 AP The New Art Gallery Walsall No-one really dies frame, Scott Bayer resin 40 x 30 Fine art All from the series Snake, 2001-2002 Craft 3.5 x 10 x 10 Gavin Turk (b.1967) Blautopf landscape, 2001 Mike Nelson (b.1967) 12 digital print on Fuji archival paper, ed. 1/3 Jurgen Bey (b.1965) Skull (Portrait), 2002 C-print, ed. 6/10 + 1 AP Lionheart, 1997, installation Each 188 x 127 Lightshade-Shade, 1999 El Ultimo Grito Recycled frame, acrylic on canvas and 30 x 40 Mixed media Two way mirror foil, polyester, chandelier Miss Ramirez easy chair, 1997 chinagraph pencil Window Box (37-36), 2000 Dimensions variable Worcester City Art Gallery & Museum produced by DMD Pressure formed cork and latex with leather 56 x 46 C-print, ed. 3/10 + 1 AP Fine art 60 x 60 x 100 covering and metal frame 30 x 40 Towner Art Gallery, Eastbourne Gerhard Stromberg (b.1952) 83 x 50 x 60 Nottingham Castle Museum & Art Gallery Fine art Albertblock, 2001 Tord Boontje (b.1968) Mind the Gap coffee table and magazine rack Fine Art Catherine Yass (b.1963) Joachim Koester (b.1964) C-print, framed, ed. 1/5 plus 2 AP Wednesday Blossom Vase, 2002 (prototype), 1998 Shirana Shahbazi (b.1974) Lord Mayor, 2002, commissioned on behalf Nordenskiold & The Ice Cap, 1999-2000 168 x 134 22_CAS 23_CAS Projects and Consultancy Underpinning the work of Contemporary Art British collection, funded by their sister Members’ Events Contemporary Art Society has a long ideas and support of our active members Society Projects are two key projects for foundation in London. history of organising trips and events for its a re unique and invaluable to CAS. Although The Economist and Unilever plc. These members dating back to almost the very it is not always possible to be an active were overseen by Cat Newton-Groves, Development work for The Scottish Arts beginnings of CAS itself. Looking back m e m b e r, I hope more of our members will assisted by Matthew Poole and Sandra Council encourages private and corporate t h rough the Annual Reports that now span join us in future activities. We have also Mahon. Regular tours of Unilever’s collection collecting in Scotland. We held an almost a century, it is clear that, in terms of recently launched ‘blood’ - a membership continued year round, and CAS wish to evening jointly with Arts & Business, our events and trips, the bar was raised by initiative with a programme of events for express thanks to their team of guides. Scotland, at Bonham’s and Standard Life. Pauline Vogelpoel, who, by all accounts, those that are new to collecting We also organised bus tours around skillfully fused a thirst for knowledge with a contemporary art, co-ordinated entire l y Cat Newton-Groves advised private galleries in Edinburgh and Glasgow for high sense of sociability and style. CAS t h rough email. We rely on your ability to collectors on their collections; represented private collectors. events and trips continue to be org a n i s e d encourage your friends and acquaintances CAS on the board of AXIS (the national drawing from her inspiration. Pauline died to join us - our monthly London bus tours artists’ database); and worked closely The three key Projects staff have now left in December 2002, and it is fitting that here (CASt) to off-the-beaten track exhibitions, with Fresh Art to support recent graduates. CAS and our thanks are due to all three for as well as in Gill’s Dire c t o r ’s Report that studios and galleries, are an excellent She also managed our informal group, their contribution. We pay tribute to the work she is paid tribute. starting point. Contemporary Corporate Curators Circle done by Cat Newton-Groves over the last (4Cs), informing and supporting in a five years and she in turn would, we know, F u n d a m e n t a l l y, CAS membership re m a i n s challenging area of the visual arts, to wish to express her appreciation of the an opportunity for individuals to support April 2002 maintain high standards and integrity. support given by Sandra Mahon who had living artists and to aid re p resentation of special responsibility for Unilever, and contemporary art in public museums, so A RTf u t u re s was held at the City of London The Gulbenkian Foundation, London, Matthew Poole who curated the exhibition one needn’t be an active member to School directly across the Thames fro m invited CAS to manage a commission for its programme at The Economist which has support the work of CAS. The primary aims Tate Modern, and was thus fittingly opened new Museum Prize, awarded in May 2003. been one of CAS’ most public successes, of our events and trips are to foster gre a t e r by Sir Nicholas Serota. The Private Vi e w, as Vladimir Bohm created a vessel that stays especially amongst younger artists. depth and breadth of understanding of e v e r, was the focus of busy buying and for a year in each winning museum and contemporary art and to encourage excitement, and over the course of the therefore was designed for variety of CAS’ project and consultancy work continues collecting. It is re w a rding for Gill and I to selling exhibition lasting 5 days, over 240 settings, both classical and contemporary. to develop in new directions with a team of see eyes widened (our own as well) and a works were sold. His enamelled silver bowl succeeds specialist freelancers. We wish to express p l e a s u re to see friendships develop beautifully. CAS also advises The our gratitude to the clients and artists with t h rough CAS activities - which is a CAS hosted a lecture given by Philip Gulbenkian Foundation in Lisbon on its whom we have worked during the year. wonderful coro l l a r y. The energ y, kindness, Rylands, Director of the Guggenheim 24_CAS 25_CAS

Museum in Venice, to our members at artists at Manifesta 4, was formidable. We met one of the space’s curators, Jewish Museum of Art, to see the first solo “battleship” next to the We s t w a y. the Royal Institution. Rylands provided an We also visited public museums and David Risley, and were shown the art and exhibition of Mark Gertler’s work in over a The curators toured us around this intimate portrait of Peggy Guggenheim as galleries in Frankfurt as well as MARTa design commissions in the Foster- decade (whose work was among the first young, ambitious collection of work that a collector. It was a glamorous evening H e r f o rd, a Gehry-designed museum still designed building. p u rchases made by the CAS). Sarah tends to re f e rence colour, imagination, as well as being a fundraising success - under construction. MacDougall, co-curator of the exhibition movement and travel, including the facilitated by the support of The Fine and author of a new biography on the work of Vik Muniz, Adriana Va rejao and Family Foundation. Our day-trip to Paris via the Eurostar was October 2002 artist, led us through each work in the Gabriel Oro z c o . also in June, where Eric Mézan, Parisian exhibition lending valuable insight into his cultural expert, showed us the best of what’s Our weekend in Yorkshire and Newcastle work and life. May 2002 new on the Paris art scene. We explored started at Yorkshire Sculpture Park, followed M a rch 2003 the Palais de Tokyo, participated in Erwin by a short visit to the races (ostensibly to see We visited the Tate Archives in May held at Wu r m ’s one-minute sculptures at the contemporary art near the track) and to a December 2002 CAS members were invited to a private the newly opened Hyman Kreitman Researc h C e n t re National de la Photographie and private collection of contemporary art housed viewing with celebrated British artist C e n t re at Tate Britain. Adrian Glew, Ta t e much more. in a converted church. We had Durham Our visit to the Chelsea home of two long- R i c h a rd Wilson to see his commission at A rchive Curator, and Erica Foder- L a n a h a n , Cathedral to ourselves to see the work of standing CAS members to see their private The Wapping Project, B u t t e r f l y. Over the Head of Reader Services, guided us thro u g h Tony Sinden, followed by dinner with Canon collection and enjoy Christmas drinks was duration of the exhibition Wilson was in this impressive facility that houses over a September 2002 Bill Hall, and artists Tony Sinden, Lulu Quinn, a success. Their collection of modern and the process of attempting to recover the million archival items, and selected for us Jim Harold and Susan Brind. We crossed the contemporary painting including work original form of the large metal object he the most poignant items from the CAS Unilever generously hosted our AGM at Tyne on the award-winning Millennium Bridge by Ernst Ludwig Kirc h n e r, Henri Matisse initially scrapped. Wilson explained his a rchives (housed here). their headquarters in Blackfriars this year. to visit the newly opened Baltic Art Centre in and Basil Beattie, was investigated and p roject and showed us a diary of the After the meeting, members were guided Gateshead and met artists-in-residence Chad a d m i red whilst enjoying the hospitality of p rocess in slides. We then enjoyed t h roughout the building to see Unilever’s McCail and Alec Finlay. Finally we visited our kind hosts. dinner with our guests of honour Wilson June 2002 collection of contemporary British art that Antony Gormley’s Angel of the North and and his partner, performance artist has developed over 20 years with the advice Tony Cragg’s Terra Novalis, all in glorious Silvia Ziranek, in the restaurant pre s i d e d This year’s international trip was to of CAS, resulting in an exuberant collection crisp autumn sunshine. January 2003 over by the Director of The Wa p p i n g Germany to visit Documenta 11 held in of over 500 works. P roject, Jules Wright. Kassel (every 5 years) and Manifesta 4 (a In January CAS was invited to visit E u ropean biennial) held in Frankfurt in 2002. We visited Bloomberg SPACE, a re c e n t l y November 2002 The Monsoon Collection, housed in the The sheer volume of work we saw, work by opened gallery within the Bloomberg fashion re t a i l e r ’s headquarters in this Wynne Wa r i n g 116 artists at Documenta, plus work by 72 headquarters in Finsbury Square. We visited the Ben Uri Gallery, the London former British Rail building known as the Events and Membership Manager 26_CAS Member Museums Fine Art Lincoln Usher Gallery Liverpool University of Liverpool Bedford Cecil Higgins Art Gallery Art Collection *Joined 2002 with funds from Belfast Ulster Museum Liverpool Walker Art Gallery The Esmée Fairbairn Foundation Birmingham Museum & Art Gallery London South London Gallery Blackpool Grundy Art Gallery London Tate & Art Gallery Manchester Art Gallery Bradford Cartwright Hall Manchester The Whitworth Art Gallery, Bristol City Museum & Art Gallery University of Manchester Cardiff National Museum & Gallery Middlesbrough Art Gallery Coventry Herbert Art Gallery & Museum Newcastle Upon Tyne Laing Art Gallery Coventry Mead Gallery, University of Warwick Newport Museum & Art Gallery Doncaster Museum & Art Gallery Norwich Castle Museum Dundee McManus Galleries* Nottingham Castle Museum & Art Gallery Eastbourne Towner Art Gallery Gallery Oldham Edinburgh City Art Centre* Orkney * Edinburgh Scottish National Gallery of Oxford Ashmolean Museum of Art Modern Art & Archaeology Glasgow Art Gallery & Museum Paisley Museum & Art Gallery* Glasgow Hunterian Art Gallery Plymouth City Museum & Art Gallery Harrogate Mercer Art Gallery Preston Harris Museum & Art Gallery Hatfield Margaret Harvey Gallery, University Rochdale Art Gallery of Hertfordshire Rugby Art Gallery & Museum Huddersfield Art Gallery Salisbury John Creasey Collection of Hull Ferens Art Gallery Contemporary Art Ipswich Christchurch Mansion Sheffield Graves Art Gallery Leamington Spa Art Gallery & Museum Southampton City Art Gallery Leeds City Art Gallery Stoke on Trent The Potteries Museum Leicester New Walk Museum & Art Gallery & Art Gallery 29_CAS

Fine Art continued Craft Lincoln Usher Gallery Sunderland Museum & Art Gallery Aberdeen Art Gallery Liverpool Walker Art Gallery Swansea Glynn Vivian Art Gallery Bedford Cecil Higgins Art Gallery Manchester Art Gallery Swindon Museum & Art Gallery Belfast Ulster Museum, Middlesbrough Cleveland Crafts Centre Wakefield Art Gallery Birkenhead Williamson Art Gallery & Museum Newport Museum & Art Gallery Walsall The New Art Gallery Walsall Birmingham Museum & Art Gallery Nottingham Castle Museum & Art Gallery Wolverhampton Art Gallery Bolton Museum & Art Gallery Oldham Art Gallery Worcester City Art Gallery & Museum Bradford Cartwright Hall Paisley Museum & Art Gallery York City Art Gallery Bristol City Museum & Art Gallery Plymouth City Museum & Art Gallery Cardiff National Museum & Art Gallery Portsmouth City Museum & Records Service Cheltenham Art Gallery & Museum Preston Harris Museum & Art Gallery Coventry Herbert Art Gallery & Museum Sheffield Graves Art Gallery Dudley Broadfield House Glass Museum Southampton City Art Gallery Dundee McManus Galleries Southport Atkinson Art Gallery Gateshead Shipley Art Gallery Stoke on Trent The Potteries Museum Glasgow Art Gallery & Museum & Art Gallery Halifax Bankfield Museum Swansea Glynn Vivian Art Gallery Hove Museum & Art Gallery Swindon Museum & Art Gallery Huddersfield Art Gallery Wakefield Art Gallery Previous page Leicester New Walk Museum & Art Gallery York City Art Gallery Alison Wilding Harbour, 1994-1996, from the series Contract, 1989-2000 Gift of an anonymous donor, presented by the Contemporary Art Society and the Henry Moore Foundation to Tate, 2003. Photo: Roderick Coyne. ©The artist

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Wolfgang Tillmans Blautopf landscape, 2001 Purchased on behalf of Nottingham Castle Museum & Art Gallery Courtesy Maureen Palley Interim Art, London ©The artist Incoming Resources Un r estricted Funds Restricted Funds Total 31.03.03 Revised 31.03.02 £ £ £ £ Voluntary Income: Subscriptions & donations 76 , 5 4 6 34 , 2 6 3 11 0 , 8 0 9 11 9 , 4 7 9 Arts Council Award 55 , 0 0 0 - 55 , 0 0 0 45 , 0 0 0 31 . 0 3 . 2 0 0 3 31 . 0 3 . 2 0 0 2 30_CAS Activities in furtherance 31_CAS £ £ of the Charity objectives: Fees & Commissions 25 1 , 3 0 1 - 251,301 11 7 , 6 7 4 Fixed assets 64 , 5 8 7 58 , 3 0 3 Contemporary Art Arts Council Lottery funding - 12 9 , 0 6 9 12 9 , 0 6 9 39 8 , 2 0 8 Summarised ————— ————— Lottery scheme contributions - 13 8 , 0 0 0 13 8 , 0 0 0 16 3 , 7 5 0 Cu r r ent assets 1, 0 2 0 , 6 6 8 1, 0 2 6 , 6 0 0 Society Group Other grants - 11 8 , 6 6 3 11 8 , 6 6 3 44 , 0 0 0 Consolidated Ticket sales for events for members 23 , 4 4 8 - 23,448 12 , 9 0 9 Other income 4, 3 7 9 - 4,379 12 , 9 8 0 Balance Sheet Cr editors : amounts falling due within one year (1 1 6 , 6 7 8 ) (1 2 7 , 5 6 1 ) ————— ————— Consolidated Investment Income: Contemporary Art Society Group Statement of Financial Interest and dividends 13 , 0 4 4 - 13,044 13 , 9 2 6 Net current assets 90 3 , 9 9 0 89 9 , 0 3 9 —— — — — —— — — — —— — — — —— — — — as at 31.03.03 ————— ————— Activities Total incoming resources 42 3 , 7 1 8 41 9 , 9 9 5 84 3 , 7 1 3 92 7 , 9 2 6 Net assets £9 6 8 , 5 7 7 £9 5 7 , 3 4 2 —— — — — —— — — — —— — — — —— — — — The summary financial —— — — — —— — — — information set out on pages (Incorporating a consolidated income Resources Expended 30 and 31 is extracted from the and expenditure account). Re p r esented by: Cost of generating funds: full accounts of the Society For the year ended 31 March 2003. Restricted income funds 38 7 , 2 2 5 29 5 , 8 2 8 Fundraising costs 22 , 3 2 6 1 , 9 7 0 2 4 , 2 9 6 1 5 , 9 3 1 which were approved by the —— — — — —— — — — —— — — — —— — — — Trustees on 10 July 2003. The figures all relate to continuing Net incoming resources available for charity 40 1 , 3 9 2 418,025 819,417 91 1 , 9 9 5 Un r estricted funds 58 1 , 3 5 2 66 1 , 5 1 4 —— — — — —— — — — —— — — — —— — — — Full audited accounts, with the operations and include all —— — — — —— — — — Costs of activities in furtherance Trustees’ and auditors’ reports recognised surpluses and deficits. of charitable objectives: Total funds £9 6 8 , 5 7 7 £9 5 7 , 3 4 2 Advice, training and collection support 40 4 , 1 3 1 61 , 8 6 6 46 5 , 9 9 7 26 6 , 4 3 5 giving an unqualified opinion —— — — — —— — — — Art purchases - 26 4 , 7 6 2 264,762 55 3 , 2 4 2 can be obtained from the Members’ events and support activities 36 , 5 9 4 - 36 , 5 9 4 23 , 3 8 9 Contemporary Art Society, Management and administration 41 , 2 8 2 - 41 , 2 8 2 23 , 7 1 5 Independent Auditors’ Statement to the Trustees of Basis of opinion —— — — — —— — — — —— — — — —— — — — Bloomsbury House Contemporary Art Society Group We conducted our work in accordance with Bulletin 48 2 , 0 0 7 32 6 , 6 2 8 80 8 , 6 3 5 86 6 , 7 8 1 74-77 Great Russell Street 1999/6 ‘The auditors’ statement on the summary financial We have examined the summarised financial statements —— — — — —— — — — —— — — — —— — — — London WC1B 3DA statement’ issued by the Auditing Practices Board for use Total resources expended 50 4 , 3 3 3 32 8 , 5 9 8 83 2 , 9 3 1 88 2 , 7 1 2 of Contemporary Art Society. in the United Kingdom. —— — — — —— — — — —— — — — —— — — — Respective responsibilities of trustees and auditors Net incoming res o u r ces/(outgoings) res o u rc e s (8 0 , 6 1 5 ) 91 , 3 9 7 10 , 7 8 2 45 , 2 1 4 Opinion The trustees are responsible for preparing the summarised In our opinion the summarised financial statements are financial statements in accordance with the consistent with the full financial statements and the Other recognised gains and losses: recommendations of the charities SORP. Our responsibility Trustees’ Annual Report of Contemporary Art Society for Revaluation of investments 45 3 - 45 3 (6 8 7 ) is to report to you our opinion on the consistency of the the year ended 31 March 2003. —— — — — —— — — — —— — — — —— — — — summarised financial statements with the full financial Net movement in funds (8 0 , 1 6 2 ) 91,397 11 , 2 3 5 44 , 5 2 7 statements and Trustees’ Annual Report. We also read Fund balances brought forward 66 1 , 5 1 4 29 5 , 8 2 8 95 7 , 3 4 2 91 2 , 8 1 5 the other information contained in the summarised annual Mazars —— — — — —— — — — —— — — — —— — — — Oliver Prenn report and consider the implications for our report if we Chartered Accountants and Registered Auditor Fund balances carried forward £581,352 £3 8 7 , 2 2 5 £9 6 8 , 5 7 7 £9 5 7 , 3 4 2 become aware of any apparent misstatements or material 24 Bevis Marks, London, EC3A 7NR —— — — — —— — — — —— — — — —— — — — Chairman, 25 July 2003 inconsistencies with the summarised financial statements. Dated: 6th August 2003 32_CAS Acknowledgement to funders The Arts Council England for their continued fixed The Scottish Arts Council for their support in the term funding, which provides CAS with the vital development of a new collecting initiative on behalf CAS offers sincere thanks to all support needed to develop our work with museums. of museums, companies and individuals in Scotland. individuals and organisations who have helped us to extend our work, and in particular the following.

The Henry Moore Foundation for their generou s contribution towards annual purchases of The Scottish Arts Council Lottery Fund for establishing sc u l p t u r e and video for the Distribution Scheme. the National Collecting Scheme for Scotland in partnership with six museums to develop challenging collections of contemporary art and craft.

The Arts Council England Lottery Fund for establishing the Special Collection Scheme, a unique national project enabling fifteen museums The Esmée Fairbairn Foundation for their generosity and galleries in England to develop challenging in enabling three Scottish museums to rejoin CAS collections of contemporary art and craft. and their overall support for our work.

The Crafts Council for partnership funding to The Fine Family Foundation for their support of our the four museums developing craft collections annual lecture and Catching Comets. in the Special Collection Scheme. and the generosity of a private donor who wishes to remain anonymous but who, through The Henry Moore The Trustees of The Trusthouse Charitable Foundation, has given 8 monumental sculptures by Foundation for their support of Catching Comets. Alison Wilding to CAS member museums. We promote the collecting of We promote the collecting of contemporary art through our gifts contemporary art through our gifts to public museums and the advice to public museums and the advice and guidance we offer companies and guidance we offer companies and individuals Contemporary Art and individuals Contemporary Art Society_Annual Report 2002/2003 Society_Annual Report 2002/2003

Bloomsbury House, 74-77 Great Russell Street, London WC1B 3DA T. 020 7612 0730 F. 020 7631 4230 [email protected] www.contempart.org.uk

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