Tate Patrons Report
2013/14
Contents
Director’s introduction
2
Chair’s address
3
Artworks you helped purchase
4
Exhibitions you helped stage30
How you helped others enjoy Tate42
Learning introduction44
How you helped care for the collection52
Thank you62
Review of the year 2012/1376
Patrons Executive Committee78
Young Patrons Ambassador Group79
Contact us80
Director’s
introduction
Over the past year Tate Patrons have played
a crucial role in ensuring Tate’s continuing success.
Your generosity has helped Tate to deliver our
exhibition programme, to build and care for the
national Collection, and to inspire learning at all ages.
We are extremely grateful to you for your dedication
and support.
Tate champions the place of art in the world and
in all our lives. This year, the donations of the Patrons
have enabled Tate to capture the imaginations of
thousands of visitors through landmark exhibitions.
Patrons also helped Tate to acquire key works
from seven artists, including a major body of
photographs and archival materials by acclaimed
British photographer Jo Spence. In addition, Patrons
supported three significant conservation projects
including the restoration of Mark Rothko’s Black
on Maroon 1958, which has now returned to public
view after 18 months of meticulous research
and conservation.
I would like to thank Elizabeth Brooks, who will
end her period as Chair of the Tate Patrons this
year. We are immensely grateful to Elizabeth for
her exceptional dedication to Tate. From welcoming
new Patrons into the group to providing invaluable
insight into the Patron events programme, she has
demonstrated a commitment to every aspect of the
Chairmanship and has helped the Patrons to generate
unprecedented levels of support for Tate. The Patrons
represent a central part of Tate’s family of supporters.
Thank you for your generosity.
Nicholas Serota
Director, Tate
Chair’s
address
It has been a remarkable year for Tate. At Tate
Britain, the unveiling of the refurbished galleries and
the chronological rehang of the collection marks
a landmark moment in Tate’s history. This milestone
anticipates the transformation of Tate Modern
as its new extension begins to take shape. These
exciting developments across the galleries means
the generosity and commitment of the Patrons
is more important than ever. In 2013/14 your
support enabled the realisation of major exhibitions,
contributed to Tate’s learning programmes and
encouraged the expansion and conservation of the
collection. In all of these ways, the Patrons have
played a central role in allowing visitors to explore,
discover and learn about art.
Our Patrons events programme continues to offer
unique opportunities to engage with Tate’s core
programme, as well as Tate’s reach in the wider art
world. This year took us to Edinburgh, on visits to
private collections and to the studios of acclaimed
artists including Richard Deacon, whose major
retrospective at Tate Britain was staged this year with
the generosity of Patrons’ support. Our experience
as Patrons is greatly enriched by the participation
of artists and curators and we are extremely grateful
for their unique and enlightening insights. As Tate
continues to thrive as one of the most exciting arts
organisations in the world, it is a wonderful time
to be a Patron. It has been a pleasure to serve
as the Chair of the Tate Patrons and, as my term
comes to an end, I would like to thank you for your
contributions and commitment to Tate. I hope you
enjoy reading how your support has contributed
to Tate’s success in 2013/14. Thank you.
Elizabeth Brooks
Chair, Tate Patrons
2
3
Artworks you helped purchase
4
5
More Blancmange 1988
Eric Bainbridge
The artist Eric Bainbridge rose to international acclaim in the
1980s with his series of enlarged objects covered
in synthetic fur. Bainbridge’s use of fur, a material
normally associated with fashion and children’s
toys, is indicative of his interest in transforming the
familiar by way of removing it from its usual setting
or purpose. Likewise, his manipulation of found,
everyday objects simultaneously confronts the familiar
and the unfamiliar, engaging with surrealist principles
whilst also referencing mass production and consumer
culture. Born in 1955 in County Durham, UK, Bainbridge
graduated from Newcastle Polytechnic in 1977 and the
Royal College of Art in 1981 with an MA in Sculpture.
His work has been exhibited in group exhibitions in
London and he has had shows in Minneapolis, Boston
and Amsterdam. Most recently, Bainbridge’s work
has featured in a solo show at mima, Middlesbrough,
in 2008 and as part of Modern British Sculpture at
the Royal Academy, London, in 2011.
The work More Blancmange 1988 takes as its subject
a box of spoons that Bainbridge purchased from
a charity shop. Using fibreglass, plywood and plaster,
Bainbridge reconstructed the original form of the box
of spoons before covering the sculpture in synthetic
white fur. The work is displayed against a wall while
resting on the floor. Characteristic of the artist’s
sculptural practice in the 1980s, More Blancmange
reappropriates an everyday familiar object through
magnification and the use of fur so that the work
is at once recognisable and obscure. His use of block
white colour gives uniformity to the oversized work
and challenges the concept of newness or freshness,
as the colour and fur inevitably degrades with time.
Talking about his final series of fur works, Bainbridge
has commented: ‘The white works were intended
to play on the concept of newness / cleanness and
the inevitable degrading through time – as in the use
of white in the paintings of Malevich and Mondrian.
The simplicity and dumbness of the image gives
this work an accessibility and popular appeal when
compared to the more obscure identity
of objects in some other works.’
6
Eric Bainbridge
More Blancmange 1988
Fur fabric, fibre glass, plywood
and plaster
2440 x 3050 x 230 mm
(EB0028)
Courtesy of the artist and Workplace
Gallery, UK
7
Seven Seas 1987
Bill Culbert
The artist Bill Culbert was born in Port Chalmers in New Zealand
in 1935. He studied at Ilam School of Fine Arts in
Christchurch between 1953 and 1956 before moving
to London to study painting at the Royal College
of Art. While initially focused on abstract painting,
Culbert’s practice evolved with his increasing interest
in installations and sculptures. In the mid 1960s
his work was displayed at London’s McRoberts &
Tunnard Ltd, a gallery known for its support of kinetic
art. It was in the 1970s that he first started to use
fluorescent light tubes in conjunction with found
materials and, following his inclusion in a number
of exhibitions in London including The Sculpture Show,
Hayward Gallery, in 1983, he was positioned alongside
the New British Sculpture of the early 1980s. Culbert
represented New Zealand in the 2013 Venice Biennale
and has a number of commissioned sculptures in
London, Wellington and Auckland.
The work Seven Seas 1987 is one of two bottle combinations
made by the artist to a similar scale and format, the
other being Cascade 1986 at Auckland Art Gallery.
The titles of both works inspire the notion of fluidity
and allude to Culbert’s use of bottles. Seven Seas is
comprised of seven vertical rows of bottles arranged
in a pyramidal shape on a wall, with fluorescent light
tubes passing horizontally through each bottle. The
wiring of the bulbs is visible and trails to the front of
the structure, meeting a sequence of junction boxes
positioned on the floor beneath. This composition
allows Culbert’s work to vacillate between structure
and fluidity: the bottle combination appears both as
a geometric form and as a means to accumulate light
and trailing wires act simultaneously as mechanical
conduits and flowing veins. It is this tension that
characterises much of Culbert’s work. The artist’s
interest in the visual representation of movement
is also apparent in later works such as Front Door
Out Back 2013, Culbert’s installation for the 2013
Venice Biennale, which was in part a response
to the geography of the city where the ‘level from
water to land is one continuous flow of things’.
8
Bill Culbert
Seven Seas 1987
Fluorescent light tubes and plastic
bottles
2600 x 2280 x 100 mm
9
Meditation
(with open eyes) 2011
Atul Dodiya
The artist Atul Dodiya’s work manifests a deep engagement with
the traditions and cultural heritage of India, combined
with a keen interest in the European and American
masters of modern and contemporary art. Born in
Bombay in 1959, the artist’s personal experiences
of the city have remained a consistent influence on
his work, lending an autobiographical element to
his oeuvre. Dodiya studied at Sir J.J. School of Art in
Bombay before relocating to Paris in 1991 to study
at the L’École des Beaux-Arts. He often appropriates
traditional Hindu imagery alongside that of famous
Western artworks, creating a hybrid iconography that
allows him to weave the identities of other artists
with his own. This engagement with the established
canon reflects Dodiya’s pervading interest in the ways
in which contemporary international artists negotiate
their position within the dominant narrative of art
history. Tate Modern’s 2001 Century City exhibition
featured some of Dodiya’s earliest shutter paintings,
created in part as a response to the devastating
effects of the 1993 bombings in Bombay.
The work Meditation (with open eyes) 2011 is a configuration of
three cabinets belonging to a series of Wunderkammer,
a ‘cabinet of curiosities’. This work is an assemblage
of Dodiya’s influences, acting as an archive of, and
homage to, the individuals and everyday items that
have inspired his work. Arranged across the top of
the cabinets are photographs and images of Dodiya’s
personal icons, including artists Pablo Picasso,
Louise Bourgeois and Joseph Beuys. Found within
the cabinets are works of art and poems, as well as
objects relating to the creation of art, such as erasers
and a camera. These cabinets evoke the glass cabinets
commonly found in middle class Indian homes,
designed to preserve souvenirs and items of personal
value. Dodiya’s encounters with major artworks have
informed his practice throughout his career and his
references to Indian, European and American art, film
and literature has become one of his primary ways of
creating a layered and expressive artistic style.
10
Atul Dodiya
Meditation (with open eyes) 2011
3 wooden, metal and glass cabinets
displaying 17 framed works on paper,
24 blackboard dusters, television
aerial, camera
Overall display dimensions variable
Image courtesy: Chemould Prescott
Road, Mumbai and the artist
Photo credit: Anil Rane
11
Soul City (Pyramid
of Oranges) 1967
Roelof Louw
The artist Roelof Louw is a significant figure among the group of
experimental sculptors that emerged from St Martin’s
School of Art in the latter half of the 1960s. He
exhibited widely between 1969 and 1975 in London,
Amsterdam and Seattle and featured in the seminal
exhibition When Attitude Becomes Form, Kunsthalle
Bern, 1969. Alongside other young revolutionary
artists included in this groundbreaking exhibition,
such as Joseph Beuys, Alighiero Boetti, Barry Flanagan,
Yves Klein, Reiner Ruthenbeck and Richard Tuttle,
Louw has played a significant role in the exploration
of a new approach to art and architecture, one that
sought to overcome preconceived boundaries through
liberating artistic processes. Louw’s work was shown
at the Tokyo Biennial in 1970 as part of the Between
Man and Matter exhibition and was included in
New York Cultural Centre’s exhibition The British
Avant-Garde in 1971, the year he moved to New York.
In the mid 1970s he lived in Canada before returning
to his native South Africa.
The work Roelof Louw’s work is characterised by an interest
in time, space and material, as well as the potential
of sculpture to serve as an interactive art form
that responds to, and inspires responses from,
the environments in which they are found. Soul City
(Pyramid of Oranges) 1967 reflects the artist’s concern
with materials valued for their own properties, as well
as the relationship between sculpture and context.
Soul City consists of a pyramid of approximately
5,800 oranges stacked within a wooden batten frame.
Viewers are invited to take an orange from the
pyramid and, as such, the work gradually disappears
as visitors help themselves to the fruit. Any oranges
left untouched will putrefy and disintegrate during
the course of the work’s display. Both these organic
forms of disruption, over time, transform the work.
The participatory intent of Soul City is evocative of
the counter-cultural currents of the late 1960s, when
the work was first exhibited at the Arts Lab in London
in 1967 following an open submission for exhibition
proposals from artists.
12
Roelof Louw
Soul City (Pyramid of Oranges) 1967
(installation view)
±6,000 oranges
1524 x 1676 x 1676 mm
© The Artist. Courtesy
Richard Saltoun Gallery
and Karsten Schubert.
13
Volume 1 and Volume 2
2006–7
Paul Noble
The artist Paul Noble was born in Northumberland in 1963
and graduated from Humberside College in 1986
with a degree in Fine Art. He was a founding member
of the artist-run gallery City Racing in Kennington,
south London, where Noble held his first exhibitions,
consisting mainly of small paintings and drawings
evocative of dream-like worlds. He later produced
work based on a single narrative, as with his Nobson
Newtown project, which was nominated for the 2012
Turner Prize. Noble is currently represented in the Tate
collection with one drawing, Lidonob 2000, and two
prints, Playframe 2000 and Paul’s Place 2002. His work
also features in City Racing Family Tree 2000, a work
commissioned by Tate as part of Tate Modern’s
2001 exhibition Century City.
The work Volume 1 and Volume 2 2006–7 are the first two pencil
drawings from a series of six, in which Noble drew
the entirety of Henry Moore’s sculptural output as
recorded in the six-volume official catalogue raisonné
Henry Moore: Complete Sculpture by Alan Bowness
(published 1974–80). The title of each drawing refers
to the catalogue volume of the same number. The
drawn sculptures appear as a mass of overlapping
lines, which Noble describes as ‘bellmerised’ after the
artist Hans Bellmer. The more the drawings overlap,
the flatter they appear and the more their volume
is deflated: while the titles of the works refer to the
catalogue volumes they reference, they also evoke
the cumulative ‘volume’ of the sculptures that they
represent. Moore’s work has appeared in Noble’s
drawings in a multitude of guises: as public sculpture,
as characters within the Nobson Newtown settings
or, as in the Volume drawings, distilled down to
a conceptual and formal point of departure. In all
instances, Noble suggests that the monumental
scale of Moore’s work, as much as his reputation,
might be ephemeral or at the very least unfixed.
Volume 2 was included in Perry Green’s exhibition
Body & Void: Echoes of Moore in Contemporary Art,
1 May – 26 October 2014.
14
Paul Noble
Volume 1 2006–7
Pencil on paper
998 x 697 mm
15
Corner Cloth 1974, 1975
Reiner Ruthenbeck
The artist Reiner Ruthenbeck was born in Velbert, Germany
in 1937. Between 1962 and 1968 he studied under
Joseph Beuys and, during these formulative years,
his interest shifted increasingly towards sculpture,
with a particular curiosity for minimalist objects and
everyday items. Ruthenbeck first exhibited in 1968
in Düsseldorf and his work appeared in the renowned
exhibition When Attitudes Become Form, Kunsthalle
Bern, in 1969. By this point, Ruthenbeck had
positioned himself within the conceptual and processbased avant-garde movement of the late 1960s.
Pervading his work is a deep sense of respect for
the power of object to transform the space in which
it appears and he is celebrated for his ability to
subvert the viewer’s notion of familiarity. Ruthenbeck
has expressed his ongoing concern with polarities
such as soft and hard, smooth and angular, light and
heavy, and the ways in which the combination of polar
opposites can in fact generate harmony and unity.
Ruthenbeck presented at the 37th Venice Biennale in
1976 and participated in Documenta V, VI, VII and IX.
The work Corner Cloth 1974, 1975 is a minimalist fabric sculpture,
the second of an edition of three produced in 1974–5.
Fabricated from a square of dark red cotton, the
square is rotated forty-five degrees to form a diamond
shape and is installed across the corner of a room.
It is reinforced on its underside with hidden metal
eyelets which hold the material taut. Corner Cloth
employs a characteristic economy of form and colour
and the dialectic between stability and instability
is central to the reception of the sculpture: gravity
appears suspended as the fabric square seemingly
floats against the wall, introducing a sense of both
stasis and precariousness. By placing the work in the
corner of a room, the viewer’s attention is drawn to
the parameters and boundaries of the space in which
the work is displayed, locating it securely in space
despite its flotation tendencies. Demonstrating a
simplicity that transmits peace, stillness and balance,
Corner Cloth perhaps relates to the artist’s interest
in transcendental meditation, a form of mantra
meditation the artist studied throughout the 1970s.
16
Reiner Ruthenbeck
Corner Cloth 1974, 1975
Cotton, steel eyelets and paint
1230 x 1230 x 2 mm
17
Jo Spence 1934–1992
The artist Born in London in 1934, Spence was a practising
writer and cultural worker, before becoming a
photographer. In the 1960s she opened her own
studio for commercial commissions, such as wedding
photos and actors’ portraits, but throughout the
1970s her burgeoning political awareness encouraged
a shift in her work towards a more interrogative,
critical documentary style. In 1974 Spence met
photographer Terry Dennett, with whom she cofounded the Photography Workshop Ltd., advocating
the empowering and emancipating potential of
photography. It was this collaborative working style
that was to define much of Spence’s subsequent work.
In 1979 Spence studied the theory and practice of
photography at the Polytechnic of Central London and,
the same year, her work was included in the seminal
exhibition Three Perspectives on Photography at the
Hayward Gallery, London. Throughout the remainder
of her career, Spence was engaged in critical debates
concerning photography and the exploration of
its personal and political potential, and she remains
an integral figure in the history of the medium.
Celebrated for her direct, confrontational style,
Spence’s work addresses often under-represented
realities of domestic life, including divorce, illness
and strained relationships, as well as issues of health,
self-representation and mortality.
Tate plans to include these important acquisitions
in a display in 2015.
TOP: The Hackney Flashers
Collective minute book
18
BOTTOM: A photograph
of a protest organised by the
Hackney Flashers Collective
19
Hackney Flashers
Collective 1975–80
Archive acquisition
Jo Spence
The work In 1974, Jo Spence co-founded the Photography
Workshop Ltd. with Terry Dennett. Producing
projects in the mode of 1930s documentary
photography, the Photography Workshop Ltd.
moved away from traditional methods and began
experimenting with photomontage and the
incorporation of text in their work. This led to the
founding of the Hackney Flashers Collective in 1975.
The Collective was made up of a changing group of
women who defined themselves as feminists and
socialists. Its original aim was to document women
working in Hackney, in part to demonstrate women’s
unrecognised contribution to the economy. Tate
curators and the estate of Jo Spence have carefully
put together an archive of some of the surviving
evidence of the Hackney Flashers Collective exhibition
Who’s Holding the Baby? 1978. The only other major
evidence of this exhibition is a group of photographs
belonging to the collection of Museo Nacional Centro
de Arte Reina Sofia in Madrid. Also included in this
archive acquisition for Tate’s collection is a scrap
book detailing the composition of the 1975 exhibition
Women and Work as well as annotated installation
photography, posters, minute books
and correspondence.
LEFT: Photographs relating to the
Hackney Flashers Collective exhibition
Who’s Holding the Baby 1978
20
RIGHT: Photographs that featured
in the Hackney Flashers Collective
exhibition Women and Work 1975
21
The Highest Product of
Capitalism (after John
Heartfield) 1979
Jo Spence
The work The Highest Product of Capitalism (after John Heartfield)
1979 explicitly references German photographer
John Heartfield’s photomontage The Finest Products
of Capitalism 1932. Heartfield’s work depicts a young,
unemployed male with a placard around his neck
reading ‘I’ll take any job’, montaged to look as if he
is standing on the train of a woman’s white wedding
dress. The stark contrast of the two figures alludes
to the social inequalities and divisions Heartfield
believed were rife in German culture and critiques
the ‘finest products of capitalism’. Spence extends
the critique of Heartfield’s image to examine the
position of women in labour and market economy
in Britain in the late 1970s. In her interpretation,
Spence herself stands in front of a shop window with
a placard reading ‘I’ll Take (Almost) Any Work’. In the
shop window stands a mannequin wearing a white
wedding dress and an advertisement for a wedding
photographer. The artist’s self-representation makes
subtle reference to her own work as a commercial
photographer ten years earlier and imbues the
work with a sense of performance and role play.
Jo Spence
The Highest Product of Capitalism 1979
Collaboration with Terry Dennett
Tinted black and white photograph
492 x 694 mm
© The Estate of Jo Spence
Courtesy Richard Saltoun Gallery
22
23
Crisis Project / Picture
of Health (Property of
Jo Spence) 1982
Jo Spence
The work Crisis Project / Picture of Health? (Property of Jo Spence)
is one of the earliest and most defining images
from Spence and Terry Dennett’s collaborative
project The Picture of Health, which they began in
1982 immediately after Spence was diagnosed with
breast cancer. It charts Spence’s journey through
illness and her treatment within the National Health
Service and is, in part, a response to the personal
trauma of her diagnosis. Spence has described the
experience of coming to terms with her illness as a
horrifying realisation, not least because it caused her
to feel a ‘peculiar disjuncture in my knowledge
of the physical world’. The project also serves as
an interrogation of the ‘medical gaze’, exploring how
NHS protocol contributed as much to Spence’s feelings
of infantilisation and vulnerability as the invasive
nature of her illness. Speaking to her firm belief in the
empowering capacity of photography, Spence took
this particular photograph into hospital with her as a
‘pre-operative talisman to remind myself that I had
some rights over my own body’.
Jo Spence
Crisis Project / Picture of Health
(Property of Jo Spence) 1982
Black and white photograph
697 x 495 mm
© The Estate of Jo Spence
Courtesy Richard Saltoun Gallery
24
25
Remodelling Photo
History 1981– 2
Jo Spence
The work Remodelling Photo History 1981–2 is another key series
that Jo Spence co-produced with Terry Dennett. This
series attempts to deconstruct some of the assumed
and institutionally accepted genres of photography:
the term ‘remodelling’ speaks directly to the artist’s
interest in re-evaluating the ideological, institutional
and historical understanding of the photographic
image. Posing a challenge to the conventional
subjects and aesthetics of commercial photography,
Remodelling Photo History presents highly staged,
theatrical representations of women in the workplace.
Appearing in the photos herself, Spence adopts roles
that allude to the objectification of women as home
makers, cleaners and objects of sexual desire. These
works owe much to the writings of Brazilian theatre
director Augusto Boal, whose beliefs that theatre can
empower those under-represented in society and
that audiences should be active participants in the
theatrical experience directly influenced Spence’s
own exploration of subject and viewer. In the
Remodelling series, Spence repurposed Boal’s theories
as a framework to address both her personal and
political concerns. To this end, this series of works
informed the artist’s increasing interest in phototherapy and was critical to the subsequent direction
of her practice.
TOP LEFT: Jo Spence
Remodelling Photo History:
Realization 1981
Collaboration with Terry Dennett
Tinted black and white print,
mounted on card
696 x 500 mm
TOP RIGHT: Jo Spence
Remodelling Photo History:
Colonization 1981-82
Collaboration with Terry Dennett
Tinted black and white photograph
696 x 500 mm
BOTTOM: Jo Spence
Remodelling Photo History:
Revisualization 1981–82
Collaboration with Terry Dennett
Tinted black and white photograph
696 x 495 mm
© The Estate of Jo Spence
Courtesy Richard Saltoun Gallery
26
27
Libido Uprising Part
I and Part II 1989
Jo Spence
The work A key development of Jo Spence’s practice later in
her career was photo-therapy, developed as a way
to work through a number of personal histories and
traumas. Inspired by techniques learned from her
experience as a co-counsellor, Spence pioneered
photo-therapy as a vehicle to explore and depict the
fragmented self. Perhaps one of the most significant
achievements of photo-therapy was the disruption
of the traditional relationship between photographer
and subject. While historically the photographic
subject was intrinsically at the mercy of the camera’s
gaze, Spence’s photo-therapy shifted this dynamic to
position the person in front of the camera as both
subject and author of the resulting image.
Libido Uprising Part I and Part II 1989 forms part of
Spence’s photo-therapy work. It constitutes fourteen
photographs installed in three rows: a top row of
three photographs, a middle row of nine photographs
and a bottom row of two photographs which show
Spence in the guise of her mother as housewife. Also
recurring in the photographs is the appearance of a
Hoover vavuum cleaner and clothing that alludes to
a fetishised eroticism, such as fishnet stockings and
red high-heel shoes. Spence has described this as
an enactment of her ‘conflict between the domestic
and the erotic, between my image of my non-sexual
mother and that part of myself which is still coming
into being’. Throughout the 1980s Spence sought to
confront stereotypical representations of sexuality,
family and class. Libido Uprising allowed her to extend
her photographic analysis of these concerns by way
of examining her own personal relationship with
her mother, in effect demonstrating her commitment
to photography as a powerful tool through which
to express both political and personal anxieties.
Libido Uprising Part I and Part II was included in Tate
Liverpool’s exhibition Keywords: Art, Culture & Society
in 1980s Britain, 28 February – 11 May 2014.
28
LEFT: Jo Spence
Libido Uprising Part I 1989
Collaboration with Rosy Martin
C-type print
641 x 424 mm
© The Estate of Jo Spence
Courtesy Richard Saltoun Gallery
RIGHT: Jo Spence
Libido Uprising Part II 1989
Collaboration with David Roberts
C-type print
640 x 423 mm
© The Estate of Jo Spence
Courtesy Richard Saltoun Gallery
29
Exhibitions you
helped stage
30
31
Henri Matisse:
The Cut-Outs
Tate Modern
17 April –
7 September 2014
Henri Matisse
The Snail 1953
Gouache on paper, cut and pasted on
paper mounted on canvas
2864 x 2870 mm
© Succession Henri Matisse/DACS
2014
32
In the last fifteen years of his life Henri Matisse
completely reinvented himself through the cutouts. This seemingly simple yet incredibly complex
technique is the result of a radical combination of
three key elements that defined the artist’s entire
oeuvre: colour, line and sculpture. Matisse’s cut-outs
merged all three elements together, giving birth to
one of the most astounding bodies of works ever
produced. Since Matisse’s death in 1954, the cut-outs
have been the primary subject of only a handful
of exhibitions, leaving many aspects of this
oeuvre unexplored.
Tate, in collaboration with the Museum of Modern
Art in New York, set out on a mission to organise
the most comprehensive exhibition ever devoted to
the cut-outs. This required assembling over 120 works
from private and public collections across Europe
and America. Many of these cut-outs had not been
together since they left the artist’s studio over
fifty years ago; bringing them under the same roof
again has been a source of great pride for Tate.
The Snail 1953 (pictured), belonging to the Tate
collection, was displayed with two related works
of equal size and relevance: Memory of Oceania
summer 1952 – early 1953 and Ivy in Flower 1953,
now belonging respectively to MoMA and Dallas
Museum of Art. These works, along with the Blue Nude
series and the twenty cut-out maquettes from Jazz,
were amongst the stars of the exhibition. A personal
favourite is undoubtedly the cluster of small cut-outs
that began on a wall in Matisse’s studio at Villa Le
Rêve in Vence (pictured on previous page). Originally
conceived as one whole composition, they went on to
become stand-alone works and one of the exhibition’s
biggest challenges was to recreate this multi-part
wall-size installation by reassembling them all. The
effect is stunning: the brightness of the colours is as
strong today as it was originally when Matisse had
to wear his sunglasses when looking at the wall.
The work beautifully evinces Matisse’s unparalleled
use of colour.
Flavia Frigeri
Assistant Curator
33
Project Space:
A Chronicle of
Interventions
Tate Modern
2 May –
13 July 2014
A Chronicle of Interventions is part of Tate’s Project
Space series, a curatorial collaboration that brings
together Tate Modern and a contemporary art space
from another region. For this show, we collaborated
with TEOR/éTica in San Jose, Costa Rica. We began
with a residency period in which my curator partner,
Inti Guerrero from TEOR/éTica, and I travelled to
Panama, Guatemala and Costa Rica to visit artists
and exhibitions in the region. Inti and I recognised
a huge diversity between and within each country
in Central America. There was, however, one common
thread between them all: a history of economic,
political, military and foreign intervention. This
exhibition presents a response to that shared history.
The show opened with an archival display from
Group Material, an artist-run collective founded
in New York in 1979 (pictured above left). Their
seminal installation Timeline: A Chronicle of US
Intervention in Central and Latin America, first exhibited
at PS1 in New York in 1984, charted over 160 years
of foreign intervention in Central America. Our
curatorial approach was to begin with this piece and
branch out to more contemporary work to reveal how
histories of intervention continue to be a concern
for a younger generation of artists working today.
Also included in the show was the work of seven
international contemporary artists: Humberto
Vélez, Michael Stevenson, Óscar Figueroa, Andreas
Siekmann, Regina José Galindo, Naufús RamirezFigueroa (pictured below left) and José Catrellón.
In the aftermath of the Korean and Vietnam Wars,
the west considered Central America a Communist
threat. We wanted to remind our audience of this
history and to initiate a dialogue between what was
happening in the west during the late twentiethcentury and artists in Central America working today.
A Chronicle of Interventions will open in Costa Rica in
October this year and I am very excited to hear the
responses from a Central American audience.
TOP: Part of the archival display of
Group Material’s Timeline: A Chronicle
of US Intervention in Central and Latin
America 1984
34
BOTTOM: Naufús Ramirez-Figueroa’s
work A Brief History of Architecture
in Guatemala 2010
Shoair Mavlian
Assistant Curator, Tate Modern
35
Richard Deacon
Tate Britain
5 February –
27 April 2014
Best known for his lyrical open forms and interest
in materials and their manipulation, Richard Deacon
is widely regarded as a leading British sculptor.
Therefore it was perhaps surprising that this
exhibition, generously supported by Tate Patrons,
was the first exhibition of his work held by a public
institution in London since his solo exhibition at the
Whitechapel Gallery in 1986. Tate Britain’s show aimed
to highlight Deacon’s employment of a wide variety
of materials over a period of more than four decades,
ranging from laminated wood and polycarbonate
to leather, cloth and ceramic, and how he skillfully
combines organic forms with elements of engineering.
Each of the six rooms addressed a different aspect
of his practice and showed how his changing
methods of working are the result of developments
in his approach to making sculpture. We also aimed
to address Deacon’s ongoing interest in the
interactions between surface, skin and structure.
The show was received very favourably by a range
of critics, a tone set by Adrian Searle of the Guardian
who wrote: ‘In this show, we begin to discover the
enormous output from the mid-1970s to the present.
It charts the different formal characteristics of his
sculpture, and the complex material manipulations
and inquisitiveness that have gone into their making…
His art is a reminder that the possibilities are still
wide open. I wanted it to go on and on.’
The exhibition attracted over 40,000 visitors,
highlighting the interest Deacon’s work generates.
This was also mirrored by the fact that tickets for
all public events regarding the exhibition sold out,
suggesting a wide desire to both see and enter
discussions about Deacon’s work. The success of all
exhibitions is dependent on the support of the artist
and the generosity of lenders and I am very grateful
for your help.
TOP:
Installation shot of Richard Deacon
36
BOTTOM: Richard Deacon
Art For Other People #6 1983
Suede and brass
325 x 680 x 370 mm
Tate
Presented by Tate Patrons 2010
Clarrie Wallis
Curator, Modern and Contemporary British Art
37
Richard Hamilton
Tate Modern
13 February –
26 May 2014
Hamilton’s early career was as much about creating
exhibitions as about making distinct art works. Thus,
the basic premise of our show was to exhibit the four
1950s exhibitions, first staged in London at the ICA,
alongside all of Hamilton’s other works – paintings,
installations, products, prints, drawings, studies,
and even a TV commercial he made to accompany
an edition. Hamilton’s interest in other artists was
extremely wide ranging – he saw Marcel Duchamp
as his mentor, and collaborated with Dieter Roth,
whose mentality and material sensibility seems to
be the opposite of Hamilton’s. He was also fascinated
by Fra Angelico and other Renaissance painters’
investigations about perspective. In the late 1960s
he began a project with Polaroids whereby he asked
artist friends to take his portrait and he became very
friendly with Americans such as Andy Warhol, Claes
Oldenburg, Robert Rauschenberg and Jasper Johns.
These artists were not only responding to American
consumer culture and developing pop art, as Hamilton
was, but also shared a similar respect for Duchamp.
Why was Hamilton so interested in other artists’s
work? I think he saw art as an intellectual endeavour,
and he could learn from others’ thinking. He could
also learn about different ways of making, from
the plotting of lines of perspective, to how to use
Photoshop. He recognised that artists have to form
a strong social community because their ideas are
so often at odds with the mainstream beliefs of the
societies in which they live. No matter if their work
looks different; they share scepticism towards the
value of their society.
Richard Hamilton
Towards a definitive statement
on the coming trends in menswear
and accessories (a) Let us explore
the stars 1962
Oil paint, cellulose paint
and printed paper on wood
610 x 813 mm
frame: 809 x 1011 x 810 mm
© R. Hamilton. All Rights Reserved, DACS 2014
38
My personal highlight of the exhibition was the
four beautiful paintings in the 1963 series Towards
a definitive statement on the coming trends in menswear
and accessories (pictured), reunited for the first time
since the 1970s. Here, Hamilton looks at stereotypical
images of the 1960s male figure. The way they
are made is extraordinary: a lot of scholarship on
Hamilton concentrates on what he does with images,
but these works also make you look at his parallel
interest in materials.
Mark Godfrey
Curator
39
Ruin Lust
Tate Britain
4 March – 18 May 2014
Ruins have always been objects of fascination because
of the way they allow meditations on time, history
and the interaction of nature and culture. Their
crumbling forms remind us of the transience of human
civilisations while the creative reuse of their materials
and structure signals the potential for renewal. In that
sense, they are objects that allow us to imagine both
past and future.
William Gilpin’s eighteenth-century theories of the
picturesque included ruins as an important element in
the framing of the perfect landscape. In the twentieth
century, artists have reinterpreted these ideas to
think about how we view and experience landscapes,
for instance in Paul Nash’s surrealist photographs of
abandoned objects, or Keith Arnatt’s deliberate refusal
of picturesque framing in his juxtaposition of Tintern
Abbey with a nearby hotel advertisement. Urban ruins
have also become an increasing preoccupation of
artists since the late twentieth century, particularly
in relation to post-war architecture.
TOP: John Martin
The Destruction of Pompeii
and Herculaneum
Signed and dated 1822; restored 2011
Tate
40
BOTTOM: Jane and Louise Wilson
Azeville 2006
Tate
© Jane and Louise Wilson,
courtesy 303 Gallery, New York
My favourite object is David McFall’s Bull Calf 1942–3.
I like the way that it both retains its identity as a
ruin fragment and becomes a new object through
the artist’s intervention. I also like the brooding
monumental presence of Jane and Louise Wilson’s
2006 series of photographs of the Nazis’ Atlantic
Wall (pictured below left), which are resonant of a
very specific moment of conflict. The show was an
opportunity to consider a theme that has been central
to the ways that artists have represented landscape
and the urban environment across the centuries. The
juxtaposition of works of different periods allowed us
to make both connections and distinctions between
the ways that artists approached the theme at
different times, showing how traditional categories of
ruin have expanded and been reimagined in modern
and contemporary art. It allowed a fresh look at the
varied ways artists have engaged with the theme
of ruin, aiming to be thought-provoking about the
relationship of these ideas to literature, society
and politics.
Emma Chambers
Curator, Modern British Art
41
How you helped
others enjoy Tate
42
43
Learning
introduction
Learning at Tate is focused on the profound and
transformative impact of art on individuals and
communities. Committed to the belief that every
person has the right to enjoy and be enriched
by art, our Learning department strives to provide
the highest quality of learning provisions to people
of all ages and backgrounds.
and parents are on an equal platform and that
learning should be an interactive and collaborative
experience. This ethos is echoed in both Liminal,
an artist-devised project that encourages families
to engage with sculpture through touch and Tate
Modern’s family programme that invites families
to engage with artist-led projects in the galleries.
It is the generosity of our supporters that allows
us to develop our learning programme and realise
our vision. Your dedication as Patrons over the
years has been integral to helping us develop
initiatives aimed at engaging young children with
the gallery, such as Engaging Young Minds and
Liminal, collaborative projects aimed at older children
and young adults such as I-dent fashion show and
Quicksilver dance performances, as well as the
support of our Tate Modern access programme that
provides different types of interaction appropriate
for individuals with varying disabilities.
All these projects your generosity has helped us stage
are crucial to realising our vision to deepen and enrich
people’s engagement and understanding of art, and
to reach out to wider audiences to promote positive
change, dialogue and engagement with contemporary
cultural and artistic life. Our programme continually
evolves with the needs of our audiences and as
we change, develop and research new methods of
interacting with our audiences, we are always grateful
to those who endeavour to help us make this happen.
Thank you for your support.
The commitment of the Patrons to the work of our
Learning team is truly extraordinary and 2013/14
has been no exception with your support of three
vital strands of our work: the schools workshops,
Liminal and the family programme at Tate Modern.
Devised in collaboration with a group of artist
educators, the schools workshops are one of Tate’s
main provisions for young people and are driven
by our belief that proximity to artists and artworks
encourages young people and students to think
creatively and independently. The workshops cater
to the learning needs of the particular group and
continue to be an incredibly popular resource
for schools, teachers and students, encouraging
discussion-based learning and hands-on creative
activities. Our early years and families activity
is informed by the idea that children, teachers
44
Anna Cutler
Director, Learning
45
Families programme
Tate Modern
The families programme at Tate Modern provides
a variety of engaging activities and resources for
families of all ages, designed to deepen and enrich
engagement and understanding of art.
One of the families programme resources is Open
Studio, an artist-devised studio installation linked
to collection displays or current exhibitions.
Supported by learning assistants, participants are
invited to explore and experiment with resources
in a participant-led workshop. Open Studio is open
11.00–16.00 on the weekends, and Thursdays and
Fridays during school holidays.
Early Years Open Studio is an opportunity
for children’s centres and nurseries in Southwark,
Lambeth and Tower Hamlets to book Open Studio
sessions between 10.00–12.00 and 13.00–15.00
on Mondays and Fridays during term time.
‘Fantastic idea and
perfect for my kids’
Parent
Sonic Trails invites families to experience Tate
through specially commissioned works of sound art
by contemporary artists. Devised in collaboration
with artist Dan Scott, participants are given an MP3
player and headphones to listen to a choice of four
sound art installations.
‘The children were both
very inspired by the hands on nature of the activity
and both took a lot from it
despite having a large age
gap between them. Such
wonderful effects from
simple materials.
Amazing fun.’ Parent
‘Terrific activity,
inspiring kids to create
exciting structures and
evolve them as they
think of new functions.
Really fun!’ Visitor
46
Young children and parents enjoy
Tate Modern’s Families Programme
47
Liminal
Liminal is a participatory project that invites
families to engage in a physical, material and social
experience of sculpture through touch, interaction
and collaboration. Created by artists Kierean Reed
and Abigail Hunt and devised directly from current
art practice, the programme maintains that the art
is the central focus and makes connections to
scheduled displays.
‘I really enjoyed the Liminal
project. It was fun, creative
and interactive’
Liminal Participant
Liminal has achieved a high number of participants
across a wide age range, evidence of crossgenerational interaction and feedback comments
that have made connections to artworks. Feedback
from parents has praised the project for the way in
which it allows children to develop spatial awareness
and a greater appreciation and enjoyment of art.
‘Fantastic space for the
children to be creative’
Parent
48
Liminal is held on Level 4 at Tate Modern,
11.00–16.00 every weekends, and Thursday–Sunday
during school holidays. Patrons also supported
Liminal in 2012/13.
49
Schools workshops
‘By making art a part
of the national curriculum,
we give the next generation
of artists, designers, engineers,
creators and cultural leaders
the opportunity to develop
the imagination and skills that
are vital to our future.’
Nicholas Serota
Tate’s main provision for young people is the
Tate Britain and Tate Modern schools workshops
programme. Delivered by Tate’s Learning team
in collaboration with a group of experienced artist
educators, each workshop is ninety minutes long
with a maximum of sixteen school children in each
group. The sessions are individually designed by
different artist practitioners in line with artworks on
display. Workshops incorporate a range of practices,
including installation, movement, painting,
collage, film, drawing, animation, site-specific
art and photography.
Tate’s Learning team have found that the schools
workshops programme is highly effective in
developing critical thinking skills, improving
self-confidence and self-expression, enhancing
enjoyment of art and encouraging a continued
interest in the arts.
50
51
Patrons view works of Mark Rothko at Tate Modern
during an event to celebrate the completed conservation
of Black on Maroon 1958, restored with Patrons’ support
52
How you helped care
for the collection
53
Conservation of
Mark Rothko’s
Black on Maroon 1958
Q&A Patricia Smithen, Head of Conservation, discusses
the restoration of Mark Rothko’s Black on Maroon:
Can you describe the process for restoring Mark
Rothko’s Black on Maroon?
There were three main stages in the restoration
process: research and testing, ink removal and
retouching. Dr. Bronwyn Ormsby, Senior Conservation
Scientist at Tate, worked with collaborators to
narrow down the field from hundreds of potential
solvents. A variety of test canvases were then used
to assess and develop the appropriate solvents and
application methods. Based on extensive research,
she and Rachel Barker, Paintings Conservator at Tate,
created a painted sample which represented the
layers in the painting. Rachel also researched Rothko’s
painting technique, reviewing known literature and
interviewing experts.
Rachel spent a further nine months working
on Black on Maroon itself. Rachel painstakingly
removed the majority of the surface ink before
reversible conservation-grade materials were
used to restore the painting’s surface. All of this
research and conservation work was undertaken in
close consultation with the Rothko family and with
international experts with extensive experience
of Rothko’s paintings. We were delighted when
the work returned to public view in May 2014.
TOP: The damaged bottom right
hand corner of Mark Rothko’s
Black on Maroon
54
BOTTOM: The bottom right hand
corner of the painting after extensive
conservation treatment
What was the most challenging aspect of the
conservation of this work?
I think the greatest technical challenge lay in the
delicacy and sensitivity of the original paint layers
applied by Rothko. When testing and cleaning the
work, Rachel and Bronwyn had to constantly balance
the removal of the ink while limiting the effect of the
cleaning systems on the original paint. Even a few
seconds of additional exposure could have resulted in
visible change to the local surface as it was sensitive
to so many different types of solvents, including
water. They managed to achieve a beautifully even
result across a surface which varied in texture, layer
structure, media and sensitivity.
55
Were there any surprise findings uncovered during
the restoration?
This painting had been carefully examined and
sampled previously, however Bronwyn and Rachel
identified a beautiful intermediate orange paint layer
which had been previously missed. Rachel also visited
the collection of the Rothko family in New York and
found two canvasses of great interest. One was a
canvas primed with the maroon base layer by Rothko
or his assistant and the second was an unusual canvas
which showed Rothko had trialled a few different
techniques for applying maroon paint to a surface.
The Rothko family were incredibly generous in giving
Tate the first primed canvas for us to use as a test
surface and for future research. They also kindly lent
us the second canvas to examine and analyse for
comparison to our own work.
How has this particular project impacted our
knowledge of Rothko and the field of conservation?
This project has drastically increased our knowledge
about this particular work and about what types
of cleaning and retouching systems might be good
options for use on similar paintings. The small
treatment team had close oversight by another small
committee which enabled us to work quickly whilst
ensuring there were key moments for reflection
and consideration. We were able to reach out to
colleagues and experts in the art history, conservation
and scientific communities who provided invaluable
support throughout. I was particularly impressed
with the way Bronwyn and Rachel modified existing
techniques and embraced new solvent and gelling
options to ensure the testing was comprehensive.
We are already planning ways to disseminate some
of the specific knowledge to the general conservation
community, starting with Rachel and Bronwyn
presenting papers at an international conservation
conference in Australia this September. I think the
approach taken by the team can stand as an example
for significant conservation projects in future.
Mark Rothko’s Black on
Maroon restored by Tate’s
Conservation team
56
57
The artist Edward Armitage was born in London in 1817 to
wealthy Yorkshire industrialists. He studied in Paris at
L’École des Beaux-Arts under the direction of history
painter Paul Delaroche and in 1847 spent the year in
Rome studying painting and sculpture. Upon returning
to London, Armitage married artist Catherine Laurie
Barber and they were among the first artists to settle
in London’s St John’s Wood, an area popular among
artists during the Victorian period. Armitage was
an advocate of modern mural painting and entered
his work into a number of competitions for the
decoration of the new Palace of Westminster after it
was destroyed by fire in 1834. While his designs were
not included in the final fresco for the new palace,
frescoes by the artist can be seen in a number of
churches and halls in London, including a decorative
terracotta frieze included as part of the Royal Albert
Hall’s The Triumph of Art and Letters.
Conservation of
Edward Armitage’s
The Remorse of Judas
1866
The work The Remorse of Judas was discoloured and the edges
were torn and ripped. Treatment to the work included
providing structural support to strengthen the canvas,
removing the yellow discolouring and removing old
varnish on the surface of the painting. With thanks in
large part to the support of Tate Patrons, The Remorse
of Judas was restored to displayable condition and
since August 2014 has been hung in the 1840 room
of Tate Britain’s Walk through British Art.
TOP: Edward Armitage’s
The Remorse of Judas during
conservation treatment
58
BOTTOM: The painting
after successful conservation
treatment and cleaning
59
Conservation of
Arthur Hacker’s
The Annunciation 1892
The artist Arthur Hacker was an English artist well known for
his paintings of mythological and allegorical subjects.
Born in London in 1858, Hacker studied at the Royal
Academy between 1876 and 1880 and was later
elected as an Associate and Academician of the
school. Whilst studying in Paris at the Atelier Bonnat
in the early 1880s, Hacker shared a studio with
Stanhope Forbes and both artists exhibited in the first
New English Art Club exhibition in 1886, largely made
up of young English artists who had recently returned
to London from Paris. Hacker developed an interest
in portraiture as it began regaining its aesthetic
significance in the late 1880s; alongside other artists
known for their historical, medieval and mythological
paintings such as John Everett Millais, George
Frederick Watts and William Blake Richmond, Hacker
began to establish a reputation as a portrait artist.
After a period of painting portraits and London street
scenes, Hacker returned to biblical and mythological
subjects and his reputation was confirmed with
Tate Britain’s acquisition, through the Chantrey
Bequest, of The Annunciation 1892.
The work The Annunciation has been described as ‘a movement
towards the ideal’ in reaction to mid nineteenthcentury realism. The work is currently unsuitable for
display due to localised cracking and discolouration on
the surface of the work. With the vital support of Tate
Patrons, the work is undergoing essential conservation
treatment including cleaning the surface, removing the
varnish and strengthening the edges of the painting.
Once conserved, it is hoped the work will be displayed
at Tate Britain in 2015.
LEFT: A detail of the cracking
on the surface of the painting,
which has since been restored
by Tate conservators
60
RIGHT: Arthur Hacker’s
The Annunciation during the
final stages of the restoration
61
Thank you
62
63
+ Simon and Virginia
Robertson
+ Mr and Mrs Richard Rose
* Claudia Ruimy
* Fabio and Annabella
Salvalaggio
* Vipin Sareen and
Rebecca Mitchell
Patrons enjoy a tour of the 2013 Goldsmiths degree show
We are very grateful for
the generous support
of our Patrons in 2013/14.
Thank you.
The key indicates how
long each individual has
continuously supported
Tate as a Patron.
* 0-5 years
+ 6-10 years
> 10+ years
Platinum
+ Rory and Elizabeth Brooks
(Chair)
> Mrs Gabrielle
Jungels-Winkler
+ The Lord Browne of
Madingley, FRS, FREng
> Maria and Peter Kellner
* Karen Cawthorn Argenio
> Edwin Fox Foundation
* Mrs Lisa Garrison
> Mr Shane Akeroyd
+ Hugh Gibson
+ Mr and Mrs Edward Atkin
CBE
* Rhona Beck
> Beecroft Charitable Trust
* Mr Harry Blain
64
> Valerie Rademacher
+ Michael and Jane Wilson
* Ralph Segreti
* Lady Estelle Wolfson
of Marylebone
> Carol Sellars
* The Goss-Michael
Foundation
* Ms Nathalie Guiot
* Mr and Mrs Yan Huo
* Mr Phillip Hylander
* Yukiko Ito Pajot
* Mr Jamie Brown and
Mrs Aowen Jin
> Mary Moore
* Jacqueline Orsatelli
* Mr and Mrs Perl
+ Mr and Mrs Paul Phillips
* Mariela Pissioti
* Jill and Russell Platt
* Mr Gilberto and
Mrs Daniela Pozzi
Silver
* Allahyar Afshar
>Agnew’s
* Sharis Alexandrian
* Ms Maria Allen
* Mrs Malgosia Alterman
* The Anson Charitable Trust
> Toby and Kate Anstruther
> Mr and Mrs Zeev Aram
* Ayse Suleyman
* Mrs Charlotte Artus
* Tim Attias
* Miss Silvia Badiali
* Chizuko Yoshida
> Poju and Anita Zabludowicz
and those who wish
to remain anonymous
* Eric Abraham
+ Ghazwa Mayassi Abu-Suud
+ Ryan Allen and Caleb
Kramer
+ Mr and Mrs Petri Vainio
* Gabriela Mendoza and
Rodrigo Marquez
> The Flow Foundation
* Reem Nassar
+ Mathew Prichard
* Ms Sophie Diedrichs-Cox
+ Mr Donald Moore
+ Paul and Alison Myners
+ Maria and Malek Sukkar
Gold
* Mr Michael Foster
> Fiona Mactaggart
* Simon and Midge Palley
* Scott and Suling Mead
* Pierre Tollis and
Alexandra Mollof
* Tiina Lee
* Mrs Andrée Shore
> Ms Miel de Botton
+ Mr David Fitzsimons
* Ms Natascha Jakobs
* Mr Francis Outred
> Mr and Mrs
Eskandar Maleki
* Elizabeth Esteve
* Philipp Humm
+ Mr and Mrs J Shafran
* Mr Stephane Custot
* Mr Alireza Abrishamchi
* Basil Alkazzi
* Esperanza Koren
+ Mrs Maryam Eisler
+ Elena Bowes
* Louise and Charlie Bracken
* Broeksmit Family
Foundation
Patrons enjoy a curator-led tour of Patrick Caulfield at Tate Britain
> Ben and Louisa Brown
* Nicolò Cardi
> Melanie Clore
+ Beth and Michele Colocci
* Mr Dónall Curtin
* Mrs Robin D’Alessandro
* Harry G. David
+ Maya and Ramzy Rasamny
* Mr Frank Destribats
* Jordana and Debra Reuben
* Kate Groes
* Frances Reynolds
* Nazli Hariri
* Mr and Mrs Stanley
S. Tollman
* Trevor Barden
+ Emily Tsingou and
Henry Bond
> Mrs Jane Barker
* Rebecca Wang
> Manuela and Iwan Wirth
> Barbara Yerolemou
and those who wish
to remain anonymous
* Peter Barham
+ Mr Edward Barlow
+ Victoria Barnsley, OBE
> Jim Bartos
* Alex Beard
* Mr Harold Berg
* Jody and Brian Berger
65
* Lady Angela Bernstein
+ Mark and Cathy Corbett
> Madeleine Bessborough
> Cynthia Corbett
* Ms Karen Bizon
> Tommaso Corvi-Mora
> Janice Blackburn
> Mr and Mrs Bertrand Coste
* David Blood and Beth Bisso
* Kathleen Crook and James
Penturn
* Mrs Sofia Bogolyubov
* Celia Bosch Torres
* Helen Boyan
* Mr Brian Boylan
> Ivor Braka
* Alex Branczik
> Viscountess Bridgeman
> The Broere Charitable
Foundation
> Mr Dan Brooke
> Michael Burrell
> James Curtis
* Michael Cutting
* Loraine da Costa
+ Sir Howard Davies
* Sir Roger and Lady De Haan
* Giles de la Mare
* Mr Damon and The Hon
Mrs de Laszlo
* Mr Jean-Evrard Dominicé
and Mrs Stephanie de Preux
Dominicé
* Shari Dusansky
* Rafe Eddington
+ Joan Edlis
> Lord and Lady Egremont
> John Erle-Drax
* Dr Nigel Evans
> Gerard Faggionato
* Ms Rose Fajardo
* Richard Farleigh
> Mrs Heather Farrar
* David Fawkes
* Aude de Liedekerke
> Mrs Margy Fenwick
* Maria de Madariaga
> Mr Bryan Ferry, CBE
* Shoshana Bloch
* Mala Gaonkar
* Mrs Joanna Gemes
> Mr Mark Glatman
* Ms Emily Goldner and
Mr Michael Humphries
* Kate Gordon
+ Mr and Mrs Paul Goswell
> Penelope Govett
> Martyn Gregory
> Sir Ronald Grierson
> Mrs Kate Grimond
> Richard and Odile Grogan
* Mrs Helene Guerin-Llamas
* Arthur Hanna
* Mark Harris
> Mrs Marlene Burston
> Michael and Morven Heller
* Scott Button
* Richard and Sophia Herman
* Mrs Aisha Caan
> Robert Holden
> Timothy and
Elizabeth Capon
+ James Holland-Hibbert
> Lady Hollick, OBE
> Mr Francis Carnwath and
Ms Caroline Wiseman
* Holtermann Fine Art
> John Huntingford
* Countess Gillian
Castle Stewart
* Mr Alex Ionides
Patrons enjoy a tour of the 2013 Goldsmiths degree show
> Lord and Lady Charles Cecil
* Maxine Isaacs
> Andrew Kalman
+ David Killick
* Dr Peter Chocian
* Helen Janecek
* Ghislaine Kane
> Mr and Mrs James Kirkman
* Frances Clarke
* Sarah Jennings
* Ivan Katzen
> Brian and Lesley Knox
> Frank Cohen
+ Mr Haydn John
* Jag-Preet Kaur
* The Kotick Family
> Mr Michael Johnson
> Dr Martin Kenig
* Kowitz Trust
* Mike Jones
+ The Sylvie Fleming
Collection
> Mr David Ker
> Jay Jopling
* Nicola Kerr
* Mr and Mrs Herbert
Kretzmer
+ Marco di Cesaria
* Mrs Jean Fletcher
* Mrs Marcelle Joseph and
Mr Paolo Cicchiné
> Mr and Mrs Simon Keswick
> Simon C Dickinson Ltd
* Lt Commander Paul Fletcher
* Liz and Simon Dingemans
* Katherine Francey Stables
* Mrs Jane Collins
Nicholas Serota, Director, Tate leads a Patrons tour of Henri Matisse:
The Cut-Outs at Tate Modern. © Succession H. Matisse/ DACS 2014
* Dr Judith Collins
> Terrence Collis
> Mr and Mrs Oliver Colman
> Carole and Neville Conrad
> Giles and Sonia
Coode-Adams
> Alastair Cookson
66
+ Anne Chantal Defay
Sheridan
> Stephen Friedman
> Mrs Brenda Josephs
+ Tracey Josephs
* Mr Joseph Kaempfer
* Richard and Helen Keys
* Sadru Kheraj
* Mrs Mae Khouri
* Linda Lakhdhir
* Ms Anna Lapshina
* Mrs Julie Lee
> Simon Lee
> Mr Gerald Levin
67
* James Pyner
* Ivetta Rabinovich
* Patricia Ranken
> Mrs Phyllis Rapp
* Ms Victoria Reanney
* Dr Laurence Reed
> The Reuben Foundation
> Lady Ritblat
* Ms Chao Roberts
> David Rocklin
Mark Godfrey, curator of Richard Hamilton,
leads a Patrons tour of the show at Tate Modern.
+ Frankie Rossi
* Mr David V Rouch
> Mr James Roundell
> Leonard Lewis
> Jan Mol
* Sophia and Mark Lewisohn
* Lulette Monbiot
> Mr Gilbert Lloyd
+ Mrs Bona Montagu
> George Loudon
> Mrs William Morrison
* Mrs Elizabeth Louis
+ Richard Nagy
> Mark and Liza Loveday
* Ms Deborah Norton
* Catherine Lovell
+ Julian Opie
* Jeff Lowe
+ Pilar Ordovás
* Mrs Ailsa Macalister
* Isabelle Paagman
* Kate MacGarry
> Desmond Page
+ Anthony Mackintosh
> Maureen Paley
+ Eykyn Maclean LLC
> Dominic Palfreyman
* Hakon Runer and Ulrike
Schwarz-Runer
+ The Mactaggart Third Fund
> Michael Palin
* Deborah Scott
* Mrs Jane Maitland Hudson
* Mrs Adelaida Palm
* The Hon Richard Sharp
+ Lord and Lady Marks
+ Stephen and Clare Pardy
> Neville Shulman, CBE
> Marsh Christian Trust
* Mrs Véronique Parke
+ Ms Julia Simmonds
* David McCleave
* Frans Pettinga
* Paul and Marcia Soldatos
* Ms Fiona Mellish
* Trevor Pickett
* Mr Vagn Sørensen
* Mrs R W P Mellish
* Mr Alexander Platon
+ Louise Spence
> Professor Rob Melville
* Mr Oliver Prenn
> Nicholas Stanley
> Mr Alfred Mignano
> Susan Prevezer QC
* Mr Nicos Steratzias
> Victoria Miro
* Mr Adam Prideaux
* Ms Milica Mitrovich
+ Mr and Mrs Ryan Prince
68
* Mr Charles Roxburgh
* Naomi Russell
> Mr Alex Sainsbury and
Ms Elinor Jansz
* Mr Richard Saltoun
* Mrs Cecilia Scarpa
* Stacie Styles and
Ken McCracken
+ Mrs Patricia Swannell
> Mr James Swartz
> The Lady Juliet Tadgell
+ Tot Taylor
* Anthony Thornton
+ Britt Tidelius
> Offer Waterman
* Miss Sharifa Alsudairi
* Lisa West
* Sigurdur Arngrimsson
> Miss Cheyenne Westphal
* Miss Katharine Arnold
* Walter H. White, Jnr.
* Miss Joy Asfar
* Sue Whiteley
* Ms Mila Askarova
* Mr David Wood
* Miss Olivia Aubry
> Mr Douglas Woolf
* Flavie Audi
* Anthony Zboralski
* Katrina Beechey
* Mr Henry Tinsley
* Ian Tollett
* Karen Townshend
* Sarah Bejerano
and those who wish
to remain anonymous
* Josh Bell and Jsen Wintle
* Mr Edouard
Benveniste-Schuler
* Andrew Tseng
> Melissa Ulfane
Young
* William Bertagna
> Mrs Cecilia Versteegh
* Roberto Boghossian
> Gisela von Sanden
* HH Princess Nauf AlBendar
Al-Saud
> Audrey Wallrock
* Miss Noor Al-Rahim
* Johan Bryssinck
* Sam Walsh AO
+ HRH Princess Alia Al-Senussi
(Chair, Young Patrons
Ambassador Group)
* Miss Verena Butt
+ Stephen and Linda
Waterhouse
* Alina Boyko
* Miss May Calil
> Cherrill and Ian Scheer
> Sylvia Scheuer
* The Schneer Foundation
* Mrs Cara Schulze
Patrons view Patrick Caulfield’s work at a tour of his Tate Britain exhibition with the gallery’s director, Penelope Curtis
69
* The Hon Nicholas Campbell
* Carine Decroi
* Sara Harrison
+ Tammy Smulders
* Matt Carey-Williams and
Donnie Roark
* Sue Deveci
* Kira Allegra Heller
* Beatrice Spengos
* Mira Dimitrova
* Christoph Hett
> Ms Michelle D’Souza
* Mrs Samantha Heyworth
* Thomas Stauffer and Katya
Garcia-Anton
* Guillaume Duval
* Andrew Honan
* Indira Dyussebayeva
* Simona Houldsworth
* Alexandra Economou
* Rachel Hurn-Maloney
* Miss Roxanna Farboud
* Katherine Ireland
* Emilie Faure
* Kamel Jaber
* Anaïs Ferrier
* Scott Jacobson
+ Jane and Richard Found
* Aurore and
Charles-Edouard Joseph
* Miss Livia Carpeggiani
* Francesca Castelli
* Alexandra and Kabir
Chhatwani
* Arthur Chow
* Bianca Chu
* Niamh Coghlan
* Caroline Cole
* Mrs Mona Collins
* Alicia Corbin
+ Thamara Corm
* Daphné Cramer
* Sadrine Currimjee Debacker
* Florencia Curto
* Mr Theo Danjuma
* Mr Joshua Davis
* Ms Lora de Felice
* Countess Charlotte de la
Rochefoucauld
* Agnes de Royere
* Federico Martin Castro
Debernardi
* Mr Andreas Gegner
* Benedetta Ghione
* Nicolas Gitton
* Antonella Grevers
* Georgia Griffiths
* Jessica Grosman
* Olga Grotova and
Oleksiy Osnach
* Sophie Kainradl
* Miss Meruyert Kaliyeva
* Mrs Vasilisa Kameneva
* Nicole Karlisch
* Philipp Keller
* Miss Tamila Kerimova
* Ms Chloe Kinsman
+ Alex Haidas
* Daniel Klier
* Angus Haldane
* Berrak Kocaoglu
* Ms Michelle Harari
* Anastasia Koreleva
* Maria Korolevskaya
* Zeynep Korutürk
* Alkistis Koukouliou
+ Mr Jimmy Lahoud
* Isabella Lauder-Frost
+ Mrs Julie Lawson
* Karen Levy
* Miss MC Llamas
* Alex Logsdail
* Ms Sonia Mak
* Dr Christina Makris
70
* Gerald Tan
* Mr Edward Tang
* Nayrouz Tatanaki
* Dr Kafui Tay
* Miss Inge Theron
+ Soren S K Tholstrup
* Hannah Tjaden
* Mr Giancarlo Trinca
* Ms Melek Huma Kabakci
* Mr Nick Hackworth
Patrons in conversation at an artist-led tour of Tate Britain’s
Open Archive Gallery
* Gemma Stewart-Richardson
* Mr Jean-David Malat
Patrons enjoy a curator-led tour of Schwitters in Britain at Tate Britain.
Patrons supported this exhibition last year.
* Kamiar Maleki
* Radhika Radia
* Zoe Marden
* Asta Ramonaite
* Rebecca Marques
* Mr Eugenio Re Rebaudengo
* Dr. F. Mattison Thompson
* Elise Roberts
* Ms Clémence Mauchamp
* Mr Simon Sakhai
* Miss Nina Moaddel
* Miss Tatiana Sapegina
* Mr Fernando Moncho Lobo
* Paola Saracino Fendi
* Erin Morris
* Natasha Maria Sareen
* Ali Munir
* Elena Scarpa
* Katia Nounou
* Franz Schwarz
+ Mrs Annette Nygren
* Alex Seddon
* Erendira Old
* Lea Sednaoui
* Miruna Onofrei
* Count Indoo Sella
Di Monteluce
* Katharina Ottmann
* Andrew Paradis
* Christine Chungwon Park
* Sonata Persson
* Alexander V. Petalas
* The Piper Gallery
* Ana Plecas
* Mr Philippos Tsangrides
* Ms Navann Ty
* Celine Valligny
* Angus Walker
* Alexandra Warder
* Jessica Warren
* Mr Neil Wenman
* Ms Hailey Widrig Ritcheson
* Lars N. Wogen
* Ms Seda Yalcinkaya
* Reza Yazdi
* Arani Yogadeva
* Daniel Zarchan
* Olivia Zarka
and those who wish
to remain anonymous
* Jelena Seng
* James Sevier
* Robert Sheffield
* Henrietta Shields
* Ms Marie-Anya Shriro
* Jag Singh
71
1 Patrons enjoy a curator-led tour
of Michael Landy: Saints Alive at
the National Gallery
2 Patrons in conversation at a
reception and curator-led tour of
Richard Hamilton at Tate Modern
3 Patrons at the opening reception
of Mira Schendel at Tate Modern
© Rossanne Pellegrino
4 Patrons appreciate Roy
Lichtenstein’s work at Lichtenstein: A
Retrospective at Tate Modern © Estate
of Roy Lichtenstein/DACS 2014.
5 Patrons admire Ellen Gallagher’s
work at a curator-led tour of Ellen
Gallagher: AxME at Tate Modern,
an exhibition supported by
Patrons last year
6 Artist Alison Wilding meets Patrons
to view Tate Britain’s Alison Wilding
display in the Duveen Galleries
7 Patrons enjoy a curator-led tour
of Michael Landy: Saints Alive at
the National Gallery
8 Chris Dercon, Director of Tate
Modern with Young Patrons
Ambassadors Alia Al-Senussi and
Indoo Sella Di Monteluce and guest
Tarun Mahrotri at the Young Patrons
Frieze Party in 2013
9 Patrons in-conversation at a
curator-led tour of Paul Klee at
Tate Modern
1
5
6
2
7
3
72
4
8
9
73
11
12
15
10
13
16
14
74
10 Patrons enjoy a tour of the 2013
Goldsmiths degree show
11 Patrons enjoy a tour of Patrick
Caulfield at Tate Britain with curator
of the show, Clarrie Wallis
12 Patrons in conversation at an
artist-led tour of Tate Britain’s Open
Archive Gallery
13 Turner Prize winner Laure Prouvost
invites Patrons to her studio
17
14 Patrons meet artist Richard Deacon
at his studio
15 Patrons enjoy an artist and
curator-led tour of Gary Hume at
Tate Britain © Gary Hume
16 Patrons enjoy a tour of the 2013
Goldsmiths degree show
17 Patrons celebrate Frieze week at
the Young Patrons Frieze Party in 2013
75
Review of the year
2012/13
In 2012 you helped acquire The Generosity 2010
by Lynette Yiadom-Boakye who won the Future
Generation Art Prize in 2012 and was nominated
for the Turner Prize 2013.
Lynette Yiadom-Boakye
The Generosity 2010
Tate
Ellen Gallagher’s first major solo exhibition in
the UK was staged at Tate Modern with your
support.
Last year, your support helped Tate acquire four new
works for the collection, as well as stage three major
exhibitions across Tate’s London galleries: Ellen
Gallagher at Tate Modern and Looking at the View and
Schwitters in Britain at Tate Britain. Your generosity
also supported two vital Learning projects, Liminal
and Tate Britain’s Schools Programme, and
contributed to the conservation of three works in the
Tate collection. Here we reflect on your contributions
in the past year as Tate Patrons and celebrate all that
you have made possible for the gallery. Thank you
for your continued support.
‘A revelation! Brilliant and inspiring!’
Visitor
Ellen Gallagher
DeLuxe 2004–5
Tate © Ellen Gallagher
Looking at the View, curated by Director of
Tate Britain Penelope Curtis, was generously
supported by Tate Patrons and featured several
artworks acquired or conserved with Patrons
support, including John Crome’s Mousehold
Heath, Norwich c. 1818–20.
In 2012/13 the schools workshops reached 5,505 learners. These
workshops are part of the Schools Programme that Patrons generously
supported in 2012/13.
‘Looking at the View was simply amazing’
Visitor
John Crome
Mousehold Heath, Norwich
c. 1818–20 Tate
Dancing Scene in the West Indies c. 1764–96
by Agostino Brunias is on display at Tate Britain
as part of BP Walk through British Art: room
1760. The work was acquired last year with your
generous support.
Agostino Brunias
Dancing Scene in the West Indies
c. 1764–96 Tate
The large acquisition of Blinky Palermo’s 32
editions 1968–75 was made possible last
year with your support. Some of the works are
available to see by appointment in Tate Britain’s
Prints and Drawings Room and Treppenhaus
1970 is currently on display at Tate Liverpool as
part of the Liverpool Bienniale 2014’s exhibition
A Needle Walks into a Haystack.
Blinky Palermo and Gerhard Richter
Telefon 1971Tate
76
Last year you supported Schwitters in Britain. To
celebrate the continuing influence of Kurt Schwitters
on contemporary art, music and poetry, Tate Britain
hosted a very successful Late at Tate night. The
exhibition also inspired a specially designed playlist
by Radio 6 DJ Tom Ravenscroft that was available
on Spotify throughout the exhibition.
Installation view of
Schwitters in Britain
at Tate Britain
‘Thoroughly provoking and beautifully presented’
‘Schwitters in Britain was inspiring and beautiful’
Visitors
With your help as Patrons, a beautiful new frame
was constructed for George Dawe’s Naomi and her
Daughters, which is currently on display in Tate
Britain’s BP Walk through British Art: room 1870.
George Dawe
Naomi and her Daughters
exhibited 1804
Tate
77
Tate Patrons
Executive Committee
The Patrons Executive Committee represents
the needs and interests of the Patrons. They
meet four times a year to allocate funds towards
acquisitions and projects on behalf of the group.
We are very grateful for their continued guidance
and commitment.
Ghazwa Abu-Suud
Ryan Allen
Alia Al-Senussi
Elizabeth Brooks (Chair)
Jane Collins
Beth Colocci
Valerie Rademacher
Richard Rose
Alex Sainsbury
Ann Gallagher, Head of Collections, British Art presents artworks to the
Patrons Executive Committee to allocate funds towards acquisitions
78
Young Patrons
Ambassador Group
The Young Patrons Ambassadors encourage the
growth and development of the Young Patrons
group and help shape the events programme.
We thank the Ambassadors for their advocacy
and support.
Alia Al-Senussi (Chair)
Federico Martin Castro Debernardi
Eugenio Re Rebaudengo
Simon Sakhai
Indoo Sella di Monteluce
Rob Sheffield
Tammy Smulders
Young Patrons enjoy a visit to Ryan Gander’s studio.
79
Tate Patrons staff
Arianne Lovelace
Head of Patrons
Ruby Amber Green
Patrons Events Manager
Nina Kline
Patrons Manager
Grace Sims
Patrons Officer
Rossanne Pellegrino
Patrons Manager
Nina Nethercott
Patrons Administrator
Chelsea Williams
Patrons Manager
Contact information
Patrons Office
Tate
Millbank
London
SW1P 4RG
Call +44 (0)20 7887 8678
Fax +44 (0)20 7887 8090
Email [email protected]
Visit www.tate.org.uk/join-support/patrons
Follow @TateYPs
80