Tate Report 09–10 Tate Tate Report 09–10 Contents / Introduction 02 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 15 Acquisition highlights 17 Art and Ideas / Programme Tate Britain 31 Tate Modern 32 Tate Liverpool 35 Tate St Ives 36 Calendar 38 Audiences / Learning Families and young people 40 Adult programmes and live events 42 Audiences / Beyond Tate Online and media 45 Tate National 46 Tate International 48 Improving Tate Staff and sustainability 50 Funding and trading 52 Future Developments 54 Financial Review 56 Donations, Gifts, Legacies and This report is also available to download Sponsorships 58 in PDF and large-print versions – visit www.tate.org.uk/tatereport Featured art and artists 64 Introduction We are committed to enriching people’s lives International Art. The acquisition of a large through their encounter with art. And so, this group of work by Keith Arnatt, a film by David year Tate again reached out across the country Lamelas, and a significant photographic and to the world beyond – through our galleries, collection, generously given to Tate through partnerships and online – to invite people to the Acceptance in Lieu scheme by the late look again at the familiar, and to think about Barbara Lloyd, are examples of ways in which the new experiences offered by the art of our our representation of this important area of own time. art practice is being strengthened. Broadening global and artistic perspectives / Other notable works entering the Collection Our environment is characterised by rapid this year included a performance by Tania technological, social and economic change. Bruguera, eight hand-coloured etchings by We have therefore been strengthening our William Blake, the last painting by Patrick foundations and broadening our perspectives Caulfield, and several important Arte Povera to ensure we continue to stimulate audiences works by Giovanni Anselmo, Alighiero Boetti, and engage their attention, making art relevant Marisa Merz, Pino Pascali and Gilberto Zorio. to their lives today. Collaborating to support artists / The emergence of new art centres across the In tough economic times, it is even more world and an art world which is increasingly important that we continue collaborating complex and interconnected oblige us to with artists, supporting them at various re-examine our focus on traditional geographical stages in their career and working together areas of interest. Significant acquisitions this to present the Collection in new ways. year included a group of thirteen contemporary works by artists from Algeria, Lebanon, Turkey, We presented major exhibitions by Roni Horn, Iran and Egypt, as well as important works by John Baldessari, Chris Ofili, Richard Long and artists including Do-Ho Suh, Chen Zhen and Dexter Dalwood. We also commissioned artists Santu Mofokeng. New exchanges with museums to conceive new work, notably How It Is by around the world also contributed to broadening Miroslaw Balka at Tate Modern and Cold the international experience of our curators, as Corners by Eva Rothschild at Tate Britain. well as bringing new global perspectives to Tate. Douglas Gordon was invited to respond to new Tate research and we worked with Contemporary artists work in many media, Robert Morris to recreate his seminal 1971 including photography, film, video and work Bodyspacemotionthings. Artists also performance. We have appointed Simon Baker bring new perspectives on Tate’s Collection, as our first Curator of Photography and and this year our curators collaborated with 2 Introduction a number of artists including Michael Craig- As our ability to interact with our audiences Martin and Michael Landy to present new grows, so do the opportunities for participation Collection displays and exhibitions. and co-creation. The Tate Movie Project is the first of its kind – an animated film made by and Tate manages the Collection on behalf of the for children across the UK, brought together nation, so it is important that people up and by Tate, Aardman and Fallon. The project has down the country should have the chance been made possible by significant funding to see artworks in their local venues. Tate’s from Legacy Trust UK, sponsorship from BP, national activities help broaden access to arts and additional support from the BBC. Tate and strengthen initiatives outside London. Movie is part of the London 2012 Cultural This year we mounted the inaugural tour of Olympiad. A Tate Movie Truck will visit over the ARTIST ROOMS collection, given to Tate 50 places across the UK to gather material, and National Galleries of Scotland last year which can also be submitted through a website. by Anthony d’Offay. We also obtained further Learning programmes such as The Unilever funding for the Tate Connects national network Series: turbinegeneration and Illuminating of galleries and museums. This will allow us Cultures also provide ways to use Tate’s Collection to work with partner galleries to develop their to create cultural understanding among students, audiences and income streams, contributing teachers and galleries across the globe. to their sustainability at a time when public funding is likely to fall. Our evolution continues / Constraint fuels innovation. That is why, despite Interacting with audiences / an uncertain economic outlook, we continue to Tate engages with audiences in new ways be confident, working to develop new funding by using technology on a local and global sources, improving our efficiency and laying scale, keeping pace with advancements in the foundations for a secure and exciting future. this rapidly developing field. We are clear about the scale of the tasks ahead. We generate more of our income from donations We have the most popular arts website in the UK, and trading than other major national museums; with over 1.8 million unique visitors every month. about 60% of general income comes from sources This year social-media platforms, such as other than Government Grant-in-Aid. Efficiency Facebook and Twitter, also provided new forums initiatives were taken forward in storage, for engagement. The installation of a wireless procurement and energy use to ensure that network in Tate Modern, and the development we make the most of every pound we receive. of our first iPhone applications, also meant that For example, we were able to reduce our Tate is laying the foundations to engage with consumption of gas and electricity as well audiences in the future via smart phones. as the amount of waste sent to landfill. 4 Introduction Public demand for what Tate offers means We are also pleased that Cornwall County we must continue to evolve. While Tate Modern Council, working in partnership with Tate was built to accommodate around two million St Ives and the Penwith Housing Association, visitors per year, we now regularly welcome purchased land adjacent to Tate St Ives, around five million. Tate Modern has become paving the way for the future development the most visited museum of modern art in of Tate in Cornwall. the world, attracting more visitors than MoMA in New York and the Centre Pompidou in Paris, Staff and supporters / despite having significantly less floor space. Developing new and reliable sources of funding The further expansion and development is more important today than ever before. We of Tate Modern will ensure it maintains its are indebted to all of our visitors, donors and internationally recognised iconic status. supporters, whose continuing support allows us to thrive. Tate’s Trustees have taken the decision to commence construction on the expansion In the past five years, Tate has grown its self- to the south of the existing building. In January generated income by 16%, a rate well above 2010 preparatory building work began, and by the growth in Government Grant-in-Aid. July, demolition works were complete and the Nonetheless, that grant accounts for about lids to the vast subterranean oil tanks, which 40% of our general funding and is the critical will form the base of the new building, were foundation upon which we maintain and removed, revealing the spectacular new support our other commercial and fundraising spaces for showing art. activities, and present the extraordinary public programme to broaden access to art in the UK. Audiences at Tate Britain have also expanded significantly, by some 60% since 2000. The Board of Trustees recognise that Tate’s The project to transform Tate Britain also success is due to the professionalism, progressed. The plans aim to conserve the enthusiasm and dedication of all who work fabric of the beautiful Millbank building, at Tate. We want to thank Nicholas Serota, bring the oldest galleries up to 21st-century the Director of Tate, and his team not only standards for displaying art and make much- for the consistent delivery of what they promise, needed enhancements to visitor and learning but also for maintaining Tate as a global leader facilities. In July 2010 the scheme received in its field by being innovative and creative. Their unanimous planning consent from work results in a public programme of extremely Westminster City Council and work onsite high impact, delivered with great efficiency. is expected to begin in 2011. 7 Introduction Insert section 8 Tate Trustees as of 31 March 2010 The Lord Browne of Madingley, We were sorry to see several long-standing previously led the Learning team at Tate Modern, FRS, FREng (Chairman) employees of Tate move on this year. In and Susie Dawson retired after several years Helen Alexander, CBE December, Dr Stephen Deuchar, the successful helping to develop Tate’s membership scheme. Tom Bloxham, MBE founding director of Tate Britain, became Sir Howard Davies Director of the Art Fund. We were pleased to We would like to express our sincere appreciation Jeremy Deller welcome Dr Penelope Curtis, from the Henry to Anish Kapoor, CBE who retired after four years Professor David Ekserdjian Moore Institute in Leeds, to lead Tate Britain serving on Tate’s Board of Trustees.