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Tate Report 07–08

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Tate Report 07–08 Tate Report 07–08 Contents / Introduction 02 The Collection 10 Acquisitions 17 A Year at Tate 34 Tate Britain 40 Tate Modern 44 Tate Liverpool 48 Tate St Ives 52 Engaging Audiences 56 Beyond Tate 66 Organisation 74 Funding & Financial Review 78 Donations, Gifts, Legacies & Sponsorships 90 For a full version of the Tate Report 2007–8 visit www.tate.org.uk/tatereport Introduction 2 A clear vision / In last year’s Report we presented our The quality and sheer variety of works vision for Tate in 2015, Tate Next will enormously enhance our collections Generation. We spoke of a programme of British and modern art. A special that will embrace new voices and ideas, display of the Bequest opens at welcome new audiences and make full use Tate Britain in summer 2008. of new technology. This Report explains how we are beginning to turn our vision In February 2008 we also announced into a reality. one of the largest and most imaginative gifts ever made to museums in Britain. The quality of the Collection, our buildings The part-gift, part-sale made by Anthony and our staff all have an impact on our d’Offay, with the assistance of the National ability to deliver the vision. We need great Heritage Memorial Fund, The Art Fund and works of art to present compelling stories the Scottish and UK Governments, has that engage and inspire our audiences. enabled the creation of ARTIST ROOMS*, We need buildings that provide a a contemporary art collection held by sympathetic environment to view art Tate and the National Galleries of Scotland and stimulate new work, in the way that on behalf of the nation. The Collection, the Turbine Hall and the Duveen Galleries comprising 725 works by 25 artists, is do for contemporary artists. And we need envisaged as a series of 50 rooms, each to ensure that our team of staff, volunteers dedicated to an artist of international and partners feel supported and valued standing. ARTIST ROOMS will be shown in order that they can fully contribute at a wide range of galleries and museums to our work. across the country from 2009, transforming the presentation of contemporary art Growing the Collection / in the UK. This has been an outstanding year for acquisitions to the Collection thanks to Tate can only prosper when it enjoys the generosity and foresight of collectors the respect and co-operation of artists. and artists. A bequest as exceptional as There is a long tradition of artist gifts to Simon Sainsbury’s gift to Tate and the the Collection and we are deeply grateful National Gallery is rare; it is unprecedented to the artists who have donated works that it should occur in the same year that this year. Amongst these, Damien Hirst we received, with the National Galleries made a generous gift of four important of Scotland, a major donation by works including an early vitrine, Anthony d’Offay. The Acquired Inability to Escape 1991; Louise Bourgeois presented the sculpture The eighteen paintings that Simon Maman 1999, the iconic spider that has Sainsbury bequeathed to Tate and become so associated with Tate Modern; the National Gallery are of outstanding while David Hockney kindly gave his significance. Tate received thirteen works largest work to date, a magnificent by artists including Francis Bacon, Balthus, depiction of the Yorkshire landscape, Pierre Bonnard, Lucian Freud, Thomas Bigger Trees near Warter 2007*. Gainsborough and Johan Zoffany. Introduction 4 Reaching audiences / We reach new audiences by sharing the Tate Online lies at the centre of our plans Collection with museums in Britain and to take Tate to a more international and abroad. This year 89 works by JMW Turner diverse audience. The site continues to travelled to the National Gallery of Art, attract huge numbers of visitors and Washington, DC and then to Dallas Museum unique, innovative content, including of Art for what was the largest and most the monthly TateShots podcasts and comprehensive Turner exhibition ever seen new initiatives, such as a collaboration in the USA. The tour, which continues at the with Flickr, ensure that we are reaching Metropolitan Museum of Art, New York in audiences of more than sixteen million a June 2008 and concludes at the Pushkin year and growing our online reputation. Museum in Moscow in February 2009, takes works from the Turner Bequest to In other projects beyond our walls we hundreds of thousands of people and has seek to reach much smaller groups been planned with close collaboration with special needs. Looking for Change, between the curators of the partner supported by UBS, is the first programme museums and Tate. to explore how skills learned in the course of developing understanding of the visual The new collection display at Tate Liverpool, arts can be transferred to other areas of DLA Piper Series: The Twentieth Century: learning. In a three-year programme we How it looked & how it felt, celebrates are working with four primary schools in Liverpool’s status as European Capital of deprived areas in London. Children who Culture. The display includes many great rarely get the same teacher from one works of the twentieth century including term to another are now part of weekly Auguste Rodin’s The Kiss 1901–4 and sessions, provided by Tate, which we Pablo Picasso’s Weeping Woman 1937. hope will help these young people The Turner Prize was presented at Tate gain confidence and skills which can Liverpool in the autumn, taking this high- be transferred across all their work. profile exhibition to audiences in the north for the first time. The event was a fitting prelude to the Capital of Culture celebrations which, in May 2008, included the twentieth anniversary of Tate Liverpool. At Tate St Ives a focus on community initiatives and building closer relations with neighbours has brought about a range of exciting events, programmes and forums for school children and teachers, and also local families. Introduction 6 Developing our galleries / Staff and supporters / We continue to lay the groundwork for One of our key priorities over the last plans that will improve and enhance the year has been to develop management experience for our visitors. Plans drawn up and leadership skills within the organisation by Herzog & de Meuron to transform Tate to help foster future talent for Tate and for Modern with an extension to the south side the wider sector. We have achieved this were boosted when we announced both a by developing our own programmes such generous ‘start-up’ donation of £5 million as Tate Manager and through participation from one of our then Trustees, John in schemes such as the Clore Leadership Studzinski, and, in December, a grant Programme. of £50 million from the Government. The challenge of raising £215 million We welcomed many new members of staff (at 2012 prices) in an uncertain economic including in senior roles Mark Osterfield environment is obvious, but the range of and Martin Clark as Executive Director and new spaces in this landmark building will Artistic Director respectively at Tate St Ives, not just alleviate the overcrowding at Tate Julian Bird as Chief Operating Officer, Modern, but will enable us to totally Sue Cambridge as Finance Director and transform the way we programme, the appointed Caroline Collier as Director, Tate work we commission and display, and National and Cheryl Richardson as Director the way we welcome and engage our of Human Resources. Susan Daniel-McElroy, audiences in the 21st century. Director of Tate St Ives retired after seven very successful years in which she advanced Following the appointment of Caruso the gallery’s exhibition programme, and St John Architects, much work has been Simon Groom left Tate Liverpool to become undertaken on a masterplan for Tate Director of Modern and Contemporary Art Britain. An initial phase of works which for the National Galleries of Scotland. Dennis meets our key objectives of dealing with Hammond retired as Porter for the Millbank the pre-war fabric of the galleries and site after 23 years of dedicated service, and inadequate visitor facilities, and making Stephen Dunn moved to the National Gallery improvements to visitor circulation is after 30 years as a Registrar with Tate. being developed in greater detail with the aim of completing this work by 2012. This year we welcomed Monisha Shah, Lord Browne and Franck Petitgas as new Working with the National Portrait Gallery Trustees and look forward to welcoming and other partners, we are developing Professor David Ekserdjian as National plans to transform our existing Store in Gallery Liaison Trustee to replace Jon Snow. Southwark into a world-class centre for Jon, like our other Trustees, has shown the care and management of museum enormous commitment, energy and collections. We are currently raising funds passion during his term as Trustee, and we for a new building, by Grimshaw Architects, also thank John Studzinski, Victoria Barnsley, on the existing site. This will contain tailor- Jennifer Latto and Melanie Clore for their made facilities for conserving and storing contribution as they retire from the Board, collections, as well as spaces that will allow having respectively given particular support innovative programmes for the public to Tate Modern; Tate Britain and Tate and provide facilities for training a new Enterprises; Tate Liverpool; and the generation of conservators. Collection. Introduction 8 Tate Trustees as of 31 March 2008 / It was with great sadness that we received Paul Myners (Chair) the news of the death of Sir Norman Reid Helen Alexander in December 2007 shortly after the death The Lord Browne of Madingley of his wife, Jean. Norman joined Tate in Melanie Clore 1946 and was Director from 1964 to 1979.
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