Contemporary Art Society 2005–2006 01

Chairman’s Statement 03 Retiring Chairman’s Statement 05 Director’s Report 07

Curator’s Report Distribution of Contemporary Fine Art and Craft to Museums 08 Special Collection Scheme: Evaluation, Advocacy and Beyond 08 National Collecting Scheme for (NCSS) 14 NCSS Purchases 16 Museum Curators’ visit to Portugal 16 Exhibition of the Art Collection of Tom Bendhem 18 Gifts and Bequests 18 Future Strategy for CAS and its Work with Museums 19 Member Museums 20

CAS Supporters 23 CAS Consultancy 24 ARTfutures 2005 26 Statement of Financial Activities 28 CAS Balance Sheet 30 Funders and Donors 31 Patrons, Trustees, Staff and Donors 32

Contemporary Art Society Bloomsbury House

74–77 Great Russell Street London WC1B 3DA

Telephone +44 (0)20 7612 0730 Facsimile +44 (0)20 7631 4230 Email [email protected]

All works are copyright the artist unless otherwise indicated Website www.contempart.org.uk Pernille Spence I look up, I look down, 2001 (still) digital video 02 Chairman’s Statement 03

The Contemporary Art Society has events, lectures and tours for our rapidly pioneered the promotion of contemporary expanding membership, hungry to see art collecting in the United Kingdom since new art from living artists. We will be its inception in 1910. developing and expanding our highly respected consultancy service, advising The Society was the first to organise corporate and private clients on acquiring a contemporary art fair in the United and developing their own contemporary art Kingdom, ARTfutures, and at the forefront collections. Being the natural destination in promoting the concept of corporate for gifts and bequests ensures that donors art collections in the contemporary field. who have loved their art are secure in the We also actively supported the collection knowledge that their works will enrich of contemporary art by national and their chosen collections. We will widen the regional museums and galleries at a time audience for our annual selling exhibition— when there was little support from the art ARTfutures—which supports living artists establishment, ensuring the inclusion of and allows buyers to purchase, at the great works by great living artists—Bacon, Hirst, Hockney and many more. we will build on the Over the last eight years, Oliver Prenn, our retiring Chairman, has ensured that respect and trust the the role of the Contemporary Art Society is as important now as it has ever been. Contemporary Art Society He presided over many great successes, has already earned, including the Special Collection Scheme and the National Collecting Scheme for positioning ourselves as Scotland. On behalf of all of our members, the Board of Trustees, management and staff, a leader and advisor I would like to thank Oliver for his enormous contribution to the work of the Society. cutting edge, works selected exclusively by independent curators and we will continue We face many challenges. The world in to keep the relationship with museums and which we operate is changing and moving galleries at the heart of our work. rapidly. We celebrate the increasing interest being shown in contemporary art In the year ahead, we will build on the by individuals, galleries and museums. We respect and trust the Contemporary Art

, purchased with funds from the National Collecting have to ensure that the Contemporary Art Society has already earned, positioning Society evolves with these changes, and ourselves as a leader and advisor, amidst continues to be bold and innovative. the many organisations who have now entered and operate in the world of To this end we have been reviewing our contemporary art. activities with the support of the Arts Council. We look forward to providing Alison Myners a new and exciting programme of Chairman Collection of McManus Galleries, Dundee Scheme for Scotland with the support of the National Lottery through the Scottish Arts Council Richard Deacon, Oliver, 2006 steamed wood 04 Retiring Chairman’s Statement 05

It is generally accepted that Max Gordon strong support from her colleagues; it is put forward the idea of an annual prize still difficult to find words to thank Richard for contemporary art, which became Deacon; I am delighted that Alison has the Turner Prize, and which I supported succeeded me (I greatly enjoyed the (financially) for the first three years. It was party at Modern on May 9th though his brother, David Gordon, my predecessor I was rendered “speechless”); most of all at CAS, who approached me early in I treasure wonderful memories of events 1998 with a view to becoming Chairman. I and meetings and trips involving Gill, the refused him of course, but meetings with staff, the trustees and the hugely active Gill and the staff convinced me to change and friendly membership. my mind. I am sure that all who know me will have no doubt that I never regretted my change of heart for an instant, and that I have hugely enjoyed the challenges of the last eight years.

In the fourth year of the Turner Prize, 1987, I was on the Jury, and the prize was awarded to Richard Deacon. Gill knows I have always loved his work, but it was still a sensational surprise when Richard I have hugely enjoyed responded to Gill’s request for “ a present the challenges of the last for Oliver” with a new work, which even bears my name. Although I look at the eight years work every day, I still have difficulty in believing it is here.

At the Turner Prize Dinner of 2004, I sat next to Alison Myners, which was a very enjoyable experience. In August 2005, I started the campaign to approach her about becoming my successor. She did not refuse me, but it took until March of this year for the formal handover to take place. She brings fresh energy, enthusiasm and a bright personality to deal with the difficult but stimulating tasks ahead.

This is my opportunity to say “thank- you” to everyone: it has been enormous fun to work with Gill, who has become synonymous with the Contemporary Art Oliver Prenn Society, and who has always elicited Chairman 1998–2006 ©The artist photograph © Matthew Blaney Raúl Ortega Ayala White Post-it notes with black marker folded to create a pattern, 2005 digital print 06 Director’s Report 07

The visit we made to China has her with a wonderful fan club photo by the substantially influenced my view of Danish artist Peter Land as a gift from all 2005/6. We have been “living in interesting her friends and fans and a memento of so times” during this year. It has been a many international curators’ trips stage- time for reflection, review, evaluation managed by Mary. and planning. It has also been a time for farewells and an opportunity to look Wynne Waring, Membership and Events forward to a new and exciting future. Manager, left in December to the regret of her colleagues and all those members who China was the most ambitious members’ have been on her memorable CASt bus trip for many years and I have written tours and visits to Documenta, Pittsburgh, in detail about it for our website. The Lyon, Turin, East Anglia, and journeys, the laughter and the banquets China. will probably stay with us for as long as the new art that we saw. An annual report is always on the cusp of looking back and forwards. After a At our AGM in December, Oliver Prenn announced his retirement and introduced his successor, Alison Myners. Trustees, we are about to enter members and staff showed their affection and gratitude to Oliver through the gift of a new phase that will a sculpture, made and given specially, by sharpen our focus and Richard Deacon. increase our impact in the As ever, funders, trustees, members, curators, supporters, freelance colleagues contemporary art world and volunteers have defined CAS and given us all our reason for striving to period of intense effort to deliver our do the most that we can for artists and amazing collection schemes in England audiences. The staff and I extend gratitude and Scotland and with Alison Myners as to them all. the new Chairman we are about to enter a new phase that will sharpen our focus and To the staff, I want to express not only increase our impact in the contemporary thanks but also my admiration for their art world. All of us are looking forward. energy and loyalty. This year saw two departures from the core team at CAS.

In October, Mary Doyle, who saw the Special Collection Scheme through from its earliest moments to its final delivery, left knowing that she had worked tirelessly on the most important project we have Gill Hedley ever undertaken. We were able to present Director Collection of Paisley Museum and Art Galleries, purchased with fundsScotland from the National with the Collecting support of the Scheme National for Lottery through the Scottich Arts Council © The artist, courtesy Rokeby, London Michael Geertsen Green Wall Object, 2005 Curator’s Report 08 glazed earthenware 09

Distribution of Contemporary Fine Art and The Special Collection Scheme: Craft to Museums: Evaluation, Advocacy and Beyond Much of 2005 was taken up with the Following the conclusion of the Special distribution of 100 works of fine art and Collection Scheme (SCS) in March 2005, nearly 50 craftworks to the 95 museum CAS commissioned a formal evaluation collections that are currently members from an independent consultant, Val of the Contemporary Art Society. These Millington. The SCS was a major Lottery- works had been purchased over the last funded initiative, run by CAS, involving four years by the Society and had been almost £3.5million of funding (through exhibited in ShowCASe in late 2004 at ACE, the museums themselves and CAS) the South London Gallery and in early and involving seven years of work with 18 2005 at the City Art Centre and Talbot museum collections. The evaluation was Rice Gallery, in Edinburgh. Member muse- generously supported by grants from the ums were invited to make their selection Esmée Fairbairn Foundation and Arts of gifts from the exhibition. Council England and was launched in October 2005 at an event at Frieze Art Fair which was attended by the media, major Curatorial skills, knowledge funders and museum curators. and confidence go hand To quote from the executive summary of the SCS Evaluation:

in hand with the acquisition “The CAS Special Collection Scheme has of work left a significant legacy in terms of : — the skills, knowledge and confidence CAS is delighted that many of the works that curators have gained from the given to museums this year have already experience; been on public display, many new artists — the quality and diversity of contem- are now represented in public collections porary fine art and craft acquired for across the country, and the public has museum collections; the opportunity to see more contemporary — the range of imaginative opportunities works of art in their local museums for exhibitions, display, education and and galleries. outreach projects that the collections will enable for years to come; — the passion and motivation that the scheme has generated among curators who now feel inspired to argue the case for continuing to collect contem- porary work; — extending opportunities for audiences to be able to see good quality contem- porary work in their regions; — reversing negative perceptions of mu- seums as places with historic collections

that have little contemporary relevance. Collection of McManus Galleries, Dundee, purchased with funds fromsupport the National of the Collecting National Lottery, Scheme for through Scotland the Scottish with the Arts Council. Photograph courtesy Galleri Noerby, Copenhagen Sean Scully, Colourland, 2005 oil on canvas 10 11

What it has shown is that curatorial skills, — New Art On View, a book by Sheila knowledge and confidence go hand in McGregor, published by Scala, about the hand with the acquisition of work and the SCS and collecting in public museums two are inseparable. Future policy and will be launched in September 2006 strategy must take this into account. The and will bring the achievements of the achievements of the scheme deserve to SCS to a wider audience. CAS worked be celebrated and the positive lessons in partnership with The New Art Gallery learned embraced by policy makers in fu- Walsall on the production of this book. ture planning for contemporary collecting.” — Out of Place at The New Art Gallery, The full evaluation report is available on Walsall, will be the first major exhibition www.contempart.org.uk of works selected from the contempo- rary collections built through the SCS. Other activities that have followed on from The exhibition is planned to open in the work of the SCS include: September 2006. — the West Midland Museum Hub, funded — CAS initiated a survey of every collec- by Museums, Libraries and Archives tion-based art gallery in Britain asking Council (MLA) was awarded a grant to about their collection policies and fund- employ a consultant, Sheila McGregor, ing. The results underline the impor- to build on the achievements of the SCS tance of contemporary art to galleries in the region and create a template for today: over 95% of respondents either future work. CAS has worked in partner- collected or aspire to collect contem- ship throughout the year with The New porary art and/or craft. Current funding Art Gallery, Walsall and Wolverhampton restrictions and priorities mean that the Art Gallery. purchasing opportunities and curatorial — publication of two papers in May 2005, development programmes that were written by Sheila McGregor, Collecting offered under the Special Collection in Crisis: Contemporary Art in Regional Scheme are not available to the majority Galleries, and Hopeful Signs (both of curators. available on www.contempart.org.uk). — Turning Point, a summary of Arts Coun- Supported by Arts Council England. cil England’s Review of the Presentation — an advocacy event for arts decision of Visual Arts, published on 28 June makers and press at the house of CAS 2006, stated:

Trustee Doris Lockhart Saatchi, to “ We will build on the work of the coincide with publication of the above Contemporary Art Society scheme, papers and mark Museums & Galleries funded by the National Lottery, which Month in May 2005, the theme of which brought over 600 works into regional was ‘The Art of Collecting’. The event public collections, including major was supported by Arts Council England. craft collections.” Collection of The , Orkney, purchased with funds from thewith Pier the Arts support Centre of the and National the National Lottery Collecting through Scheme the Scottish for Scotland Arts Council. © The artist, photograph courtesy Ingleby Gallery. Will Duke, We Fashioned the City on Stolen Memories, Matt Stokes, Long After Tonight, 2005, 2005, (still), computer generated animation 12 (still), super 16 film and audio transferred to DVD 13 purchased with funds from the National Collecting Scheme purchased with funds from the National Collecting McManus Galleries, Dundee, Collection of the City Arts Centre, Edinburgh, for Scotland with the support of the National Lottery through the Scottish Arts Council Collection of Scheme for Scotland with the support of the National Lottery through the Scottish Arts Council Ndidi Ekubia 14 Silver Tray, 2005, sterling silver 15

National Collecting Scheme for Scotland (NCSS) and in the NCSS are grateful for all her The National Collecting Scheme for hard work and commitment. Scotland, (NCSS), is operated by the Con- A new website will be launched in October temporary Art Society with funds from the 2006, detailing the works of art and craft National Lottery through the Scottish Arts purchased through the NCSS over the Council. In the first phase of the scheme, last three years, with high quality images which ran from April 2003 until March 2006, and revealing texts relating to each of the CAS worked in partnership with six Scot- works. It will provide a guide to the institu- tish museums to support the purchase of tions and curators involved in the scheme challenging works of visual and applied art. and a unique insight into the decisions and By providing extensive professional devel- dilemmas faced by the curators as they opment to curators, including international formulated their collecting policies and set research trips, and significant new funds to about buying works. Video interviews with make purchases, the scheme has resulted the eight curators illustrate eight different in over 100 new acquisitions being made approaches to acquiring contemporary for museum collections around Scotland. works for posterity. (see p 16 for participating museums and purchases). Almost £600,000 (from NCSS The website will be an indispensable re- funds as well as grants from the National source for students, artists, educators and Fund for Acquisitions, the and par- professionals, as well as an enjoyable virtual ticipating museums) was spent on works of exhibition for the general public. It records art over the three years of the Scheme and a remarkable and unprecedented period of a number of purchases were still in process collecting contemporary art for Scotland’s at the year-end. Significant new funds to museums and galleries: make purchases have promoted ambition www.NCSScotland.org.uk and innovation in collecting challenging The NCSS museums have also been able to works of visual and applied art for museum commission new work for their collections collections around Scotland. from Scottish-based artists and makers, Highlights of the latest acquisitions include: through additional National Lottery funding the film Long After Tonight, 2005 by Matt from the Scottish Arts Council. This year Stokes, that won him the 2006 Beck’s two major commissions have been awarded, Futures award, bought by the McManus and will be launched in autumn 2006: Galleries, Dundee; a group of photographs — in an innovative approach to collecting for by Turner Prize winner Wolfgang Tillmans, st

the 21 century, the six partner museums purchased with funds from the National Collecting Scheme for Scotland with the the first to enter a museum collection in chose to work in collaboration to com- Scotland; a major work by Sean Scully, mission Glasgow-based artists Joanne Colourland, for the Pier Arts Centre, which Tatham and Tom O’ Sullivan to create a will join works by artists newly represented in substantial and ambitious new work of Scottish collections including Olafur Eliasson. art for Scotland. In October 2006 the The NCSS was managed until March 2006 first visual art commission through the by Sarah Yearsley, working for CAS but National Collecting Scheme for Scotland, based in Scotland. All colleagues at CAS Rhetoric Works & Vanity Works & Other Collection of & Museums, support of the National Lottery through the Scottish Arts Council and with a grant from the National Fund for Acquisitions. NCSS Purchases 16 17

Works, will be installed for six weeks Wolfgang Tillmans City Art Centre, Paisley Museum & corkboard, Post-it note Purchases made through the National Wolfsnap th , 2002, C-type and marker within the interior of Newhailes, a 17 Collecting Scheme for Scotland, supported photographic print Edinburgh Art Galleries A Chair, a suit and rubber century house outside Edinburgh owned by the National Lottery through the Tree Filling Window, 2002, Fine Art Claire Barclay bands manipulated to by The National Trust for Scotland. Visi- Scottish Arts Council. Many of the C-type photographic print Martin Boyce Untitled, 2005, terracotta make a video—‘Calf Untitled (Jam), 2003, earthenware pipe with Roping’, 2003, video, 11.29 tors will have the opportunity to experi- purchases were made possible through Ventilation Grills C-type photographic print (Punching Through The clear glaze and jute cord, mins Tomatoes, 2003, C-type ence the work within the context of this additional grants from the National Fund Clouds), 2004, four acid glazed stoneware pot with Hugh Pizey photographic print vegetable fibre and horse domestic period interior, before the suite etched brass panels Still Life Triptych, for Acquisitions and the Art Fund. Untitled (Abstract), 2006, hair brush bristle enamelled glass, ceramic, of objects is shown within the collections C-type photographic print Nathan Coley Aberdeen Anna Gordon Shary Boyle plinth of each of the museums. Brooch, 2003, 18ct gold Villa Savoye, 1997, slide Art Gallery & Craft installation with audio Ghost, 2005, lace-draped Dream Town, gold wire porcelain, china paint, enamelled plate — Aberdeen Art Gallery & Museum invited Museum Brooch, 2003, oxidised Per Ahlmann Will Duke silver gilt Calum Stirling silversmith John Creed to undertake a Fine art silver with Japanese Copenhagen 500, 2004, We Fashioned the City on The Beast, 2006, lace- origami papers glazed earthenware Stolen Memories, 2005, Interlude, 2004, DVD commission for their esteemed craft col- João Louro draped porcelain, china computer generated Francis Upritchard Blind Image No 92, 2005, Marian Hosking Halima Cassell paint, gilt, feathers lection. With the funding available through animation Urns, 2004, found ceramic, acrylic and graphite under Seaweed Vessel, 2004, Tsunami, 2005, carved the NCSS, Aberdeen have been able to Steven Campbell modelling material, paint plexiglas silver stoneware Kenny Hunter Waiting: Byrnicus extend their impressive collection of ap- Roman Plastic Tree, 2005, Chris Knight Michael Geertsen Modern Routes, 2000, Paisleycus Virus Invading Adam McEwen screenprint found plastic, modelling plied art by concentrating on contemporary Untitled (Macaulay), 2004, Four-piece coffee set Green Wall Object, 2005, Mr Gray, 2005, oil on material with tray, 2006, sterling glazed earthenware Modern Roots, 2000, canvas metalwork, exploring the startling diver- C-print screenprint silver and blue-anodised Craig Coulthard sity of contemporary approaches to metal, Danger Museum aluminium Gitte Jungersen The Pier Arts both precious and non-precious, and have An Clar Glas (The Grey Cube Light Green, 2005, Hunterian Art Gallery, Source of Eden, 2006, DVD Mizuho Koizumi Directions for the Centre, Orkney amassed an international collection of ves- Album), 2005, photograph slab-built stoneware University of Glasgow on paper 3 Rosebud bowls, 2005, Creationist Canoeist (Parts Roger Ackling Bodil Manz Fine Art I & II), sels, jewellery, and abstract forms. For this silver 2006, two banners, Weybourne, 1996, sunlight José Carlos Teixeira Cylinder No 5 Black Mat Collishaw wooded stilts on wood commission, Creed is working in collabora- IT’S OK (united), 2004/5, Pamela Rawnsley Mesh, 2006, cast eggshell I like to get my Loving Voewood, 2004, sunlight tion with Lindean Glass to create a major DVD installation Two Vessels: Folded series, porcelain when I got it on my Anna Hunt on wood 2004, silver with oxide Vanitas site-specific work for the building. Gareth Mason Mind, 2003, loop video , 2005, thread on Voewood, 2004, sunlight Craft interior, silver and copper canvas with redstain Porcelain Bowl, 2005, projection, wood, glass on wood with mapping pin Museum Curators Visit to Portugal Jane Adam Vessel: Cwm Cwareli series, porcelain with sang de Ellen Munro Voewood, 1999, sunlight Oyster necklace, 2004, alu- boeuf red over a pale Mark Dion The experience of the SCS made clear 2005, oxidised silver Deep Time Pour (for Sweet Bird, 2002, on wood , 6 parts minium, gold leaf, 9ct gold celadon glaze embroidered dressing the importance of continuing professional and dyed freshwater pearls Lord Kelvin and Robert Olafur Eliasson McManus Galleries, Frances Priest Smithson), 2001, wood, gown, chair The Colour Spectrum development, networking and international How to Work Better (after Kim Buck Dundee Green Balance, 2005, painted letters and tar series, 2005, colour visits for museum curators. In light of this, Silver body, 2005, silver Fine Art slab-built incised ceramic Fischli & Weiss), 2003, photogravure it was very welcome that the Calouste with impressed pattern llana Halperin wool, lurex yarn, plastic Ane Christensen Franziska Furter Icelandic Mineral Sample canvas Callum Innes Gulbenkian Foundation in London awarded Negative bowl, 2006, Sarah Jane Selwood 18, mineral sample, glass Exposed Painting, Deep Summerwine, 2003, Raúl Ortega Ayala CAS a grant that enabled a group of 13 patinated copper graphite on paper Rounded Double case, text panel Violet, Charcoal Black, Inversion, 2003, thrown, White Post-it notes with Rebecca de Quin Nomadic Landmass 2004, oil on canvas curators from 12 museums, accompanied by Catriona Grant cut and altered polished black marker folded to Leaning Jug, 2005, sterling (Eldfell), 2005, graphite Ceri Lewis, CAS Curator, to spend a week Untitled 4, 2003, C- terracotta vessel on paper create a pattern, 2005, Camilla Low silver and silver gilt type photographic print, digital print on semi-gloss 4 + 4, 2005, wood, paint in November 2005, visiting private collec- Emma Woffenden Nomadic Landmass Sidsel Dorph Jensen mounted on aluminium (Eldfell) I, 2005, graphite photographic paper Sean Scully tions, museums and commercial galleries in Surging, 2004, cast glass Shoes, Tippex and Pencils Three pouring vessels, on paper Colourland, 2005, oil on Pernille Spence manipulated to create Oporto and Lisbon. Aberdeen Art Gallery 2005, britannia silver I look up, I look down, Nomadic Landmass canvas (Eldfell) V, 2005, graphite a form, 2004, shoes, 2 purchased works by Portugese artists Ndidi Ekubia 2001, digital video, 2mins bottles of Tippex and Silver Tray, 2005, sterling silver 25 seconds on paper João Louro and José Carlos Teixeira as a Nomadic Landmass white pencils result of the visit. The Calouste Gulbenkian Robert Forster Matt Stokes (Stven’s Klint), 2004, 5000 map pins on Foundation assisted with funding for the Samurai teapot, 2004, Long After Tonight, 2005, graphite on paper corkboard to create a anodised titanium and Super 16mm film and audio The Eldfell Birthday Event, drawing—‘Gone Fishing’, purchase of João Louro’s work. anodised aluminium transferred to DVD 2004, C-prints on mdf 2002, 5000 map pins, David Mach RA, Out of Order—Maquette for public sculpture, Kingston on Thames 18 (telephone boxes, not dated), painted wood 19

Exhibition of the Art Collection of Tom Bendhem: Gifts and Bequests: Tom Bendhem: Collector, the exhibition to CAS is extremely grateful to the private honour Tom Bendhem and the art collec- individuals and estates that have given or tion he bequeathed to the Contemporary bequeathed work to museums through Art Society on his death in 2002, opened CAS. These works, together with the Tom in London at the Ben Uri Gallery in late Bendhem Bequest and the Ann Sutton 2004 and during 2005/2006 continued to gift of more than 40 of her works from her tour the country. The exhibition was shown personal collection, dating from the late at the Laing Art Gallery, Newcastle upon 1960s to the late 1990s (see CAS annual Tyne; Bristol Museum and Art Gallery; report 2004–2005), will be given to mu- Gallery Oldham; Huddersfield Art Gallery; seums in winter 2006/07. This is the first York Art Gallery and will continue to Chel- time for many years that CAS has been tenham Art Gallery and James Hockey in the fortunate position of being able to Galleries at the University for the Creative offer substantial gifts to museums in two Arts in Farnham later in 2006. successive years.

The diverse group of contemporary works Gifts of works of art (2005/2006) of art which make up the collection was — , Plaster and Wood Table, amassed at Tom Bendhem’s London 1987, given by Marc and Sébastien home since the late 1960s. Not only does Blondeau through the Contemporary it reflect the collector’s passion for paint- Art Society to the Walker Art Gallery, ing, drawing, sculpture and photography Liverpool but, more than this, the collection records — Langlands & Bell, Adjoining Rooms, lasting friendships forged between artist 1998, given by Doris Lockhart Saatchi and benefactor throughout the last thirty through the Contemporary Art Society years of the twentieth century. He bought to Tate repeatedly from artists he loved and ad- BendhemTom Bequest, Photograph ©Nicholas Sinclair mired, and many of the works bear person- — A group of 50 works on paper by Justin al inscriptions from the artists. A number Knowles, bequeathed by the artist — Laura Ford, Soft Fruit, 1991 and High the next financial year and will form the of significant artists have given CAS more (to be presented during 2006) Yield, 1991, given by an anonymous do- basis of a business plan to take CAS for- recent works in memory of Tom Bendhem, nor (to be presented during 2006) ward in its work with museums as well as — A group of 17 prints by Ian Hamilton and the support he gave them at earlier the private and corporate sector. Finlay, given by the executors of the Future Strategy for CAS and its Work with Museums and crucial stages of their careers. David and Liza Brown Bequest In December 2005, with the support of CAS is extremely grateful to the Calouste Tom Bendhem was actively involved in (to be presented during 2006) Arts Council England, CAS commissioned Gulbenkian Foundation, London, for a selecting works for CAS for presentation a major strategic review, consulting staff, grant of £30,000 to extend CAS’ work with — Abigail Lane, Untitled, 1992, to member museums and galleries. He was trustees, museum curators, funders and museums. CAS has a long-standing rela- given by an anonymous donor also the first person to give financial support other art-world figures, to determine tionship with the Gulbenkian, not least as (to be presented during 2006) to the annual selling exhibition, ARTfutures. both the challenges facing it as it heads recent advisors to their British collection in Tom Bendhem: Collector celebrates Tom’s — Michael Craig-Martin, Michael Craig- towards its centenary in 2010, and the best Portugal. The Foundation has always dem- generosity, bringing the work of CAS to a Martin Book, 1997, book of bound way to work with museums and others to onstrated support for UK museums and wider audience, but also underlines the vital screen prints, edition 113/150. promote contemporary art collecting and galleries in particular through its establish- importance of private collectors, both to art- Given by an anonymous donor to build on the achievements of the SCS. ment of the prestigious Gulbenkian Prize ists and to public collections. (to be presented during 2006) The results of this review will be known in for Museums and Galleries. Member Museums 20 21

All Museums are part of the Distribution Eastbourne Manchester St. Albans programme. Those additionally participating Towner Art Gallery* Manchester Art Gallery*/** Margaret Harvey Gallery, University in the National Collecting Scheme for Edinburgh The Whitworth Art Gallery, University of Hertfordshire* Scotland are indicated as NCSS. City Art Centre (NCSS)* of Manchester* Salisbury Scottish National Gallery of Modern Art * Middlesbrough John Creasey Collection of Aberdeen mima—Middlesbrough Institute of Contemporary Art* Aberdeen Art Gallery & Museums Gateshead Modern Art*/** Sheffield (NCSS) */** Shipley Art Gallery** Graves Art Gallery*/** Glasgow Newcastle Upon Tyne Southampton Bedford Glasgow Art Gallery & Museum*/** Laing Art Gallery* Southampton City Art Gallery*/** Cecil Higgins Art Gallery*/** Hunterian Art Gallery, University of Glasgow Newport Southport (NCSS)* Newport Museum & Art Gallery*/** Atkinson Art Gallery** Ulster Museum*/** Norwich Stoke on Trent Birkenhead Halifax Norwich Castle Museum and Art Gallery* The Potteries Museum & Art Gallery*/** Williamson Art Gallery & Museum** Bankfield Museum** Sunderland Birmingham Harrogate Nottingham Castle*/** Sunderland Museum & Art Gallery* Birmingham Museums & Art Gallery*/** Mercer Art Gallery* Swansea Blackpool Hove Oldham Glynn Vivian Art Gallery */** Grundy Art Gallery* Hove Museum & Art Gallery** Gallery Oldham*/** Swindon Bolton Huddersfield Orkney Swindon Museum & Art Gallery*/** Bolton Museum & Art Gallery*/** Huddersfield Art Gallery*/** Pier Arts Centre (NCSS)* Bradford Hull Oxford Wakefield Cartwright Hall*/** Ferens Art Gallery* Ashmolean Museum of Art & Archaeology* Wakefield Art Gallery*/** Bristol Walsall City Museum & Art Gallery*/** Ipswich Paisley The New Art Gallery Walsall* Christchurch Mansion* Paisley Museum & Art Galleries Wolverhampton (NCSS)*/** Wolverhampton Art Gallery* National Museum & Art Gallery*/** Leamington Spa Plymouth Worcester Cheltenham Leamington Spa Art Gallery & Museum* Plymouth City Museum & Art Gallery*/** Worcester City Art Gallery & Museum* Cheltenham Art Gallery & Museum** Leeds Portsmouth Leeds City Art Gallery* City Museum & Records Service** York Herbert Art Gallery & Museum*/** Leicester Preston York Art Gallery*/** Mead Gallery, University of Warwick* New Walk Museum & Art Gallery*/** Harris Museum & Art Gallery*/** Lincoln Doncaster Usher Gallery*/** Rochdale Doncaster Museum & Art Gallery* Liverpool Rochdale Art Gallery, Touchstones Dundee University of Liverpool Art Collection* Rochdale* McManus Galleries (NCSS)*/** Walker Art Gallery*/** Rugby London Rugby Art Gallery & Museum* South London Gallery* Tate* * Fine Art ** Craft Blood members event at Pilot 2 October 2005 22 Contemporary Art Society Supporters 23

Contemporary Art Society Members Programme Best (curator of Photographs V&A), Nicolas The annual programme of events Dubois (Courtauld Institute student), Adrian organised by the Contemporary Art George, Penny Johnson, Valeria Napoleone, Society has once again enabled members Dr Andrew Renton, Mr and Mrs Salem, Greg to see art that the public rarely has the Stoneham, Greg Worth, Artprojx, Bloomberg opportunity to see and to visit places Space, Collect, the Home Office, Perrier that are less accessible to individuals. As Jouet and Red Mansion. always, the members who attend each event become an exceptional part of that CASt—art tours for the public event through the energy and interest that In addition to events for Contemporary they bring to it. Art Society members and for Blood members, CAS also runs tours of Highlights of the Contemporary Art Society’s galleries, art spaces and studios, for members programme this year included: the public. Known as CASt, these – a 10 day trip to China that took in tours happen on the last Saturday of The Guangzhou Triennial as well each month (except for August and as many commercial contemporary December). Making seven or eight stops galleries, artists’ studios and artist-run (plus one for lunch) in under six hours,

Photograph ©Matthew Blaney cooperatives, alongside the traditional CASt aims to uncover the cutting-edge attractions of The Great Wall of of contemporary art, visiting far-flung Blood Blood, the Contemporary Art Society’s dinner at Bistrotheque (June 2005) China and The Forbidden City. and temporary venues alongside more growing group of new collectors, has — A visit to Delfina Studios guided by (November 2005) established spaces. In 2005–2006, CASt continued to extend its membership some of the artists who work there – a visit to the East End studios of artists visited some of London’s newest spaces and events programme. In addition, this (September 2005) Marion Coutts, Paul Eachus, Tim such as the Parasol Unit Foundation, year saw the successful launch of a new — An evening reception at Pilot 2 Knowles, Jen-Wei Kuo and Naglaa One Small Step, Kenny Schachter, website (www.bloodarts.org) and brand (October 2005) Walker (all of whom were exhibiting work Rove, Alexandre Pollazzon and Elastic identity. With the generous support of the — A fundraising event with a guided tour at ARTfutures 2005). (November 2005) Residence, alongside some of London’s Arts Council, the website’s content was of Tate Triennial (March 2006) – the Annual General Meeting at the classics such as , Gagosian expanded considerably and now provides Home Office with a guided tour and White Cube, and talked with curators visitors with essential tips on how to start The Contemporary Art Society is extremely by curators of the Government Art and artists such as Toby Ziegler, Janette a collection, and interviews with emerging grateful to the Board of Blood, Obi Felten Collection (December 2005) Parris and Richard Woods at Delfina and established collectors. It also features (Chair), Supriya Menon (responsibility for – private visit to The Cranford Collection Studios; Olof Bjornsdottir and Johannes an archive for past events and links to strategy and marketing) and Domo Baal. and the collection of Valeria Napoleone, Phokela at Gasworks and Kate Scrivener some of London’s leading art spaces and two of London’s most interesting private and Finlay Taylor at Domo Baal Gallery. art colleges. The website functionality will Special thanks are also due to Arts collections (January and March 2006) Other highlights of CASt included the continue to expand over the coming year, Council England, Delfina Studios, Pilot degree show tour at RCA in April 2005, as it is an important feature of how Blood 2, Tate, the galleries who have opened The membership programme is made Cornelia Parker’s installation at RIBA in operates and reaches out to its members. until late to host Blood visits, the artists possible by the generosity and hospitality September 2005, a guided tour of Francis who have spent time with Blood mem- of many people and organisations. For the Alys’s show lead by Artangel Director Highlights of the Blood events programme bers and discussed their work, Matthew 2005–2006 programme, the Contemporary James Lingwood in October 2005 and included: Blaney who has photographed Blood Art Society would like to thank the artists a guided tour through the Courtauld — A guided visit to recently-opened events and to Blood members for their Marion Coutts, Paul Eachus, Tim Knowles, Institute to view Culture Bound, the Bethnal Green galleries followed by a continuing support. Jen-Wei Kuo, Naglaa Walker, as well as Kate Eastwing Collection. Langlands & Bell, Moving World, Consultancy (proposal for Heathrow Terminal 5), 2006 24 25

etc.venues Purchase of four new works for key sites at Hatton venue for display at the ground floor etc.venues’ new site at Prospero House, SE1 foyer, where they are available for viewing by The works bought were: Andrew Bick, museum curators and CAS members. Memory Club, 2005, acrylic paint, pencil, Dresdner Kleinwort Wasserstein markerpen and Perspex on wood; David The CAS was engaged in early 2006 to Burrows, Yes, yay-us, yeah, 2003, polythylene advise DrKW on purchases to extend foam; Craig Mulholland, Adding Machine, their collection and a new commission for 2005, framed oil and polycarbonate on the prestigious 6th floor client hospitality etched stainless steel and Craig Mulholland, reception and meeting rooms in their Hyperinflation, 2005, limited edition DVD new custom-built offices London. Artists animation. whose works were acquired include Completion of Adam Dant’s Guild of Alexis Harding, Claude Heath and Neologists Commission Cornelia Parker. In October 2005, etc.venues celebrated the The Economist Group completion of Adam Dant’s commission, The CAS continues to curate the The Guild of Neologists, with a launch party Economist Group’s outdoor sculpture for the illustrated Lexicon of Neologisms exhibition programme of six exhibitions per at the Hatton venue and a series of year at the Economist Plaza in St.James’s, witty blackboard illustrations of selected London. Artists who have exhibited at the contributions. The works are on permanent Plaza between April 2005—March 2006, display at the etc.venues’ Hatton Onyx are Paul Hosking; Kate Davis; Louise restaurant. Nixon; Keith Wilson; Robert Orchardson and Michael James Jones. Special thanks The Contemporary Art Society has had In early 2006 BAA and CAS announced Lothar Götz Commission Commission of a site-specific ceiling and to Jamie Ritchie for her selection of artists another active year providing Consultancy that Langlands & Bell had been programmed until May 2006. Services to both companies and selected to create a new work, Moving wall painting Canopy by artist Lothar individuals. Major projects have included: World, which will be an installation in Götz for etc.venues’ Hatton reception Pearl Assurance Collection two parts flanking either side of the was completed in early January 2006. A current report of condition, insurance BAA The reception was transformed through evaluations and advice on the collection’s Heathrow Terminal 5 commission of a plaza. Each sculpture will consist of an opaque glass wall 6m high and 18m multicoloured bands of luminous colour upkeep were commissioned to update new sculptural work, Moving World by and a framed drawing. Visitors are always the art records of the Pearl Assurance Langlands & Bell. wide, onto which blue neon acronyms designating the identity of international welcome to view the commission at the collection in Peterborough (previously The Contemporary Art Society was Hatton ground floor reception, 51–53 Hatton known as the AMP collection). contracted to project-manage the destinations worldwide will be mounted in an arc. The three-letter acronyms Garden, London EC1N 8HN open daily from selection of an artist and the development 9am to 5pm. Private Clients of the major art commission for the new will be turned on and off according to The Contemporary Art Society has worked Heathrow Terminal 5. It is an outdoor pre-set programmes causing individual Loan of Works with a number of private clients throughout commission and involves the placement of acronyms to light up in both random and Two works by Laura Ford, Soft Fruit, 1991 the year, ranging from new collectors to two iconic sculptural works at either end of ordered sequences, to give a constantly and High Yield, 1991, acrylic on canvas, were those with well established collections. the 300m long exterior pedestrian plaza, changing arc of moving blue light very generously given to CAS in June 2005 Services offered range from tailored stretched along the front of the Richard throughout the day and night, reflecting by an anonymous donor to be presented to a gallery visits and advice on emerging Rogers-designed airport building due to across the plaza and in the glass walls CAS member museum. The two works have artists, through to purchase negotiations open in March 2008. of the new terminal building. been temporarily loaned to etc.venues’ and installation. ARTfutures 2005 ARTfutures 2005 26 Bloomberg SPACE, FInsbury Square, London EC2 27

In November 2005 ARTfutures was held We are indebted to all the organisations for the first time at Bloomberg SPACE and that supported ARTfutures 2005, in was generously supported by Bloomberg. particular Bloomberg but also Arts Council England, The Scottish Arts Council, Perrier As an exhibition selling cutting edge Jouet, Cobra Beer, General Bilimoria contemporary art, what makes ARTfutures Wines, City Inn and ArtReview. unique is that each work of art offered for sale has been individually selected by The next ARTfutures will again be held a team of independent curators, during at Bloomberg SPACE from 8–14th March a rigorous series of studio visits. In 2005 2007, with the Preview evening on approx 1000 pieces of art by around 150 Wednesday 7th March. artists working throughout the UK was offered for sale. While some of the artists were well-established names (including Liam Gillick, Gavin Turk, Langlands & Bell)

2005 was a record year for ARTfutures, with sales almost double those of 2004 and capacity crowds at the Private Preview evening many others were emerging (some straight from college). Prices for the art generally ranged from £100–£5000 and the work included paintings, drawings, sculptures, video and film works and sound pieces.

2005 was a record year for ARTfutures, with sales almost double those of 2004 and capacity crowds at the Private Preview evening, to which all CAS members are invited and at the Artists’ Party, to which all Blood members are invited. Statement of Financial Activities 28 29

Incorporating income and expenditure account for the year ended 31 March 2006 Unrestricted Restricted Expendable Total Revised funds (£) funds (£) Endowment (£) 31.03.2006 (£) 31.03.2005 (£)

Incoming resources Voluntary income Subscriptions and donations 100,819 12,759 - 113,578 115,864 Bequest 23,390 - - 23,390 695,000 Arts Council Award 80,000 - - 80,000 80,000 Activities in furtherance of the charity Fees and commissions 348,672 - - 348,672 175,621 objectives Arts Council Lottery funding - - - - 3,917 Lottery scheme contributions - 7,319 - 7,319 784,832 Other grants - 75,523 - 75,523 325,793 Ticket sales for events for members 68,354 - - 68,354 31,770 Other income 6,437 - - 6,437 1,228 Investment income Interest and dividends 22,737 - - 22,737 28,471

Total incoming resources 650,409 95,601 - 746,010 2,242,496

Resources expended Cost of Generating funds Fundraising costs 68,822 17,280 - 86,102 75,255

Charitable activities Advice, training & collection support 471,671 61,467 - 533,138 456,703 Art purchases - 124,378 - 124,378 1,092,975 Members’ events and support activities 146,710 5,732 - 152,442 100,602

618,381 191,577 - 809,958 1650,280

Governance costs 22,115 - - 22,115 19,089

Total resources expended 709,318 208,857 - 918,175 1,744,624

Net incoming/(outgoing) resources (58,909) (113,256) - (172,165) 497,872

Other recognised gains and losses Revaluation of investments (81) - 149,922 149,841 4,357

(58,990) (113,256) 149,922 (22,324) 502,229

Transfers (52,722) 7,644 45,078 - -

Net movement in funds (111,712) (105,612) 195,000 (22,324) 502,229

These figures all relate to continuing operations and Fund balances brought forward 778,839 345,830 700,000 1,824,669 1,322,440 include all recognised surpluses and deficits Fund balances carried forward £667,127 £240,218 £895,000 £1,802,345 £1,824,669 CAS Balance Sheet as at 31.03.06 30 Funders and Donors 31

31.03.06 (£) Restated 31.03.05 (£) Acknowledgements Lisbon, Porto and Coimbra, seeing artists, The Contemporary Art Society offers museums, private collectors, galleries and Fixed Assets 951,094 756,433 sincere thanks to all individuals and the Lisbon Art Fair. We are grateful to Filipa organisations that help us to extend our Oliveira for the organising the visit. Current Assets 887,636 1,097,569 work, and in particular the following: Creditors: Amounts falling due within one year (36,385) (29,333) The Scottish Arts Council The Arts Council England Net Current Assets 851,251 1,068,236

Net Assets £1,802,345 £1,824,669 The Scottish Arts Council Lottery Fund Represented by: The Arts Council England for their for establishing the National Collecting Unrestricted Funds 667,127 778,839 continued fixed term funding, which Scheme for Scotland in partnership with Restricted Income Funds 240,218 345,830 provides CAS with the vital support needed six museums. Expendable Endowment Fund 895,000 700,000 to develop our work with museums and A further grant helped CAS to arrange other programmes. transport for Scottish artists to show work Total Funds £1,802,345 £1,824,669 at ARTfutures 2005 Other grants from ACE have enabled CAS to: The Fine Family Foundation The summary financial information set Independent Auditors’ Statement to the Trustees — with support of Esmée Fairbairn of Contemporary Art Society Group Foundation, commission an evaluation out on pages 28 and 29 is extracted from We have examined the summarised financial statements the full accounts of the Society which of Contemporary Art Society. of the Special Collection Scheme [SCS] were approved by the Committee on 6 Respective responsibilities of trustees and auditors — hold two advocacy events during The trustees are responsible for preparing the Museums & Galleries Month and Frieze The Estate of Tom Bendhem July 2006. Full audited accounts, with the summarised financial statements in accordance with Trustees’ and auditors’ reports giving an the recommendations of the charities SORP. Our to inform media and funders about The Rayne Foundation unqualified opinion can be obtained from responsibility is to report to you our opinion on the the success of SCS and the need for The P. Holt Charitable Trust consistency of the summarised financial statements with continued funding The Trusthouse Charitable Foundation the Contemporary Art Society, Bloomsbury the full financial statements and Trustees’ Annual Report. House, 74–77 Great Russell Street, We also read the other information contained in the — increase its marketing for ARTfutures London WC1B 3DA. summarised annual report and consider the implications 2005 Bloomberg for our report if we become aware of any apparent — commission a major strategic and misstatements or material inconsistencies with the summarised financial statements. organisational review Basis of opinion — Arts Council Yorkshire enabled a Bloomberg for their support for We conducted our work in accordance with Bulletin feasibility study for a contemporary ARTfutures 2005 1999/6 ‘The auditors’ statement on the summary financial statement’ issued by the Auditing Practices Board for use collectors’ group in Yorkshire in the United Kingdom. Champagne Perrier Jouet Opinion Esmée Fairbairn Foundation In our opinion the summarised financial statements are consistent with the full financial statements and the The Esmée Fairbairn Foundation for Trustees’ Annual Report of Contemporary Art Society for encouragement and financial support to the year ended 31st March 2006. allow CAS to evaluate SCS. Champagne Perrier Jouet for their support for ARTfutures 2005 and many of the Alison Myners The Gulbenkian Foundation, London members’ events. Mazars, Chartered Accountants and Registered Auditor The Gulbenkian Foundation, London, which Chairman 24 Bevis Marks, London, EC3A 7NR th 28 July 2006 Dated: 3rd August 2006 enabled a group of curators to visit to Patrons, Trustees, Staff and Donors 32

Artist Patrons Director Catching Comets Patrons Sincere thanks are offered Sir Anthony Caro OM Gill Hedley Debbie Carslaw to the following, who made gifts of works of art Bridget Riley CH OBE Senior Collections Curator Patricia Chi to the Contemporary Art Prof. Ann Sutton MBE Mary Doyle (to 10.06) Tania Fares Society for presentation to museums (see p 18 for Vice-Patrons David Gordon Collections Curator more details) Bryan Ferry Ceri Lewis Tim Joss Marc and Sébastien David Gordon Events & Membership Barbara Lloyd and Blondeau Caryl Hubbard Manager Judy Collins Doris Lockhart Lord McAlpine of Wynne Waring (to 12.05) Alison Myners Saatchi West Green Events Co-ordinator Oliver Prenn Justin Knowles Lord & Lady Sainsbury Teresa de Calonje Marjorie Skinner The executors of (from 01.06) of Preston Candover Dr Richard Sykes Dr David and Lisa Lady Vaizey Business Development and Penny Mason Manager Brown Bequest Viscount & CAS Donors Two donors who Viscountess Windsor Nour Wali JR Aisbitt Operations Manager wish to remain Board of Trustees Hugo Brown Elizabeth Cooper anonymous Oliver Prenn Lady Brown Chairman (until 14.03.06) Administrator Eric and Jean Cass Alison Myners Phil Ashcroft Anthony Caveney Chairman (from 14.03.06) Accountant Chris and Angela Pesh Framjee Suzana Bakar Honorary Treasurer Drake Mark Stephens Accounts Assistant Sarah Elson Honorary Solicitor Frances Hetherington Dr Mark Hanam Lance Blackstone ARTfutures CM Kauffman Honorary Secretary Selector James Kirkman Doris Lockhart Jeni Walwin Roger Morris OBE Saatchi Communications & Terence & Carol Rees Caroline Summerfield Marketing Consultant Lady Sainsbury Stephanie Post Babs Thomson Neville Shulman CBE Vicente Todolí Administrators Ruth Downie Brian D Smith Edwin Wulfsohn Laura Eldret Mark Stephens Valérie Therond Volunteers (short term) Marigusta Lazzari Nicholas Thompson Shirin Khosravi Britt Tidelius Louise Ashcroft Audrey Wallrock Rachel Sandman Nicholas Ward- Daniel Preece Jackson Eve Share Ann Wingerstrand Dana Cass Anita and Poju Zabludowicz