TATE PATRONS REP ORT
2015/16
TATE PATRONS REP ORT 2015/16
CO N T E N T S
Cover:
School children view Ai Weiwei’s Tree 2010
at the A.S.S.E.M.B.L.Y.: You Can Have It All preview
day of the new Tate Modern on Thursday 16 June
Ai Weiwei Tree 2010
© Ai Weiwei
Purchased with funds provided by Tate International
Council, Tate Patrons and Yuz Foundation with support
from Ai Weiwei 2016
Photo: Oli Cowling © Tate
Director’s foreword 4
Chair’s address 5
The new Tate Modern 6
Artworks you helped purchase 16
Exhibitions you helped stage 38
How you helped others enjoy Tate 48
How you helped care for the collection 58
Thank you 64
Patrons Executive Committee 72
Young Patrons Ambassador Group 73
Contact us 74
DIREC TOR ’ S FOREWORD
CHAIR ’ S ADDRE SS
The development of Tate’s collection to become more
representative of the diverse range of historic, contemporary
and international artistic practices has never been more
important. With the Switch House, the 10 storey extension
of Tate Modern having opened in June, and the expansion
of Tate St Ives continuing to take shape, Tate has entered
a new era. Without the support of Tate Patrons, we would
not have been able to achieve this transformation.
I would like to thank each of you for your dedication as Patrons over
the past year. It has been a pleasure to witness your commitment
and enthusiasm towards all that Tate achieves.
Tate remains committed to open, diverse, thought-provoking
and collaborative programmes. In 2015/16, Patrons have
made a vital contribution towards realising this vision, having
supported four landmark exhibitions, funded vital conservation
work, and enabled us to acquire ten significant works of art,
including seminal works by renowned photographers Bernd
and Hilla Becher, and an important painting by Joan Carlile,
one of the earliest works in oil by a British female artist.
Your vital contribution towards a range of learning programmes
has provided young visitors with the space and resources to
engage more effectively with the collection, and has supported
our work, both within and beyond the gallery walls.
I also hope you will join me in thanking Midge Palley for her
invaluable leadership as Chair of Tate Patrons in what has been
such a significant year. Thank you for your support and generosity.
Nicholas Serota
Director, Tate
It has been a particularly special year to be involved with Tate.
In November 2015 we welcomed Alex Farquharson as the new
Director of Tate Britain, while Frances Morris took up her post as the
next Director of Tate Modern in April 2016. I am sure that you share
my excitement in being part of their journey as they begin to realise
their visions for the galleries. June of course presented the grand
opening of the spectacular Switch House. It was a pleasure to see
many of you at the special events to celebrate this new chapter in
Tate’s history.
This year, Patrons’ support remained at the core of many exciting
aspects of Tate’s programme. From supporting a range of
acquisitions, and helping stage a number of important exhibitions,
to crucial conservation support and the realisation of key learning
programmes, your contribution has had a remarkable impact on
Tate’s ability to realise its ambitions and reach new audiences.
Getting closer to artists and curators to gain exclusive insights and
behind-the-scenes perspectives remains a key part of the Patron
experience. Throughout the year we were lucky enough to visit
the burgeoning arts scenes of Glasgow and St Ives, as well as the
studios of prominent artists, stunning private collections, Tate’s
conservation studio, and other institutions across London.
I trust you will enjoy reading more about how you have made
an important impact at Tate. I look forward to joining you all for
another successful year ahead. Thank you.
Midge Palley
Chair, Tate Patrons
4
5
THE NEW TATE MODERN
THE SWITCH HOUSE
THE NEW TATE MODERN
THE SWITCH HOUSE BY DATE
ART CHANGE S. SO DO WE.
NEW SPACE S AND NEW ART FOR ALL.
D I R E C TO R ’ S F O R E WO R D
In June, we witnessed a landmark moment in Tate’s history,
as we saw the much anticipated transformation of Tate Modern
with the opening of the Switch House. Designed by renowned
architects Herzog & de Meuron, the Switch House seamlessly
integrates with the original building, providing brand new gallery,
learning and social spaces for our ever expanding audiences.
The new display spaces, ranging from the re-opened Tanks
dedicated to live art and film, to the galleries of varying sizes
set across three levels, have enabled us to display more of the
collection than ever, allowing for a complete rehang of the collection
displays in spaces wonderfully suited to ambitious contemporary
work. Through the generosity of our supporters, including Tate
Patrons, our collection of modern and contemporary art has grown
significantly since the opening of Tate Modern. This was reflected
in the opening displays, which featured more than 300 artists from
over 50 countries, 75 per cent of which had been acquired since
2000. Thanks to these new spaces, we are able to show for the
first time how diverse works from around the globe are situated in
fascinating dialogues, sharing thematic focuses, working practices
and ideas, placing a spotlight on the truly international story of
modern and contemporary art.
Sixteen years on from its initial opening, I am delighted to have
become Director of Tate Modern during this significant year and
I hope this new chapter for the museum will continue to inspire,
engage and excite the public through art for the next sixteen
years and beyond.
Frances Morris
Director, Tate Modern
8
Previous page:
Visitors queue to be the first members of the public to
see the Switch House. Photo: Seraphina Neville © Tate
J U LY 2012
The Tanks open to the public
F E B R UA R Y 2011
Demolition of the
original Switch House
building started
F E B R UA R Y 2010
Enabling works begin
M AY 20 0 0
Tate Modern first opens
to the public
JA N UA R Y 2014
Level 4 bridge over the
Turbine Hall completed
AU G U S T 2014
The grand staircase
leading from Level 0–4
completed
S E P T E M B E R 2014
Topping out ceremony to
celebrate completion of
the perimeter structure
O C TO B E R 2014
Brickwork installation
started
N OV E M B E R 2015
Rehang of the collection
displays begins in the
Boiler House
JA N UA R Y 2016
New galleries completed
and permanent floors
in place
F E B R UA R Y 2016
Brickwork installation
completed. Last brick
laid by Nicholas Serota
and Frances Morris
A P R I L 2016
Frances Morris is
appointed Director
of Tate Modern
WE D N E S DAY
15 J U N E 2016
Artists preview day
T H U R S DAY
16 J U N E 2016
A.S.S.E.M.B.L.Y. –
Schools preview day
T H U R S DAY
16 J U N E 2016
The new Tate Modern
Opening Party
F R I DAY
17 J U N E 2016
The Switch House
officially opens to
the public
JA N UA R Y 2012
Construction started on
the tower superstructure
D E C E M B E R 20 0 9
Construction work begins,
which is celebrated by the
Mayor of London breaking
ground on the South Lawn.
Opening up and demolition
of the oil tank lids begins
9
Photos: © Tate
THE SWITCH HOUSE BY N UMBER S
11
Number of levels providing new dedicated
display, learning and social spaces
50%
30
Width in metres of the Tanks spaces
75%
The amount of solo displays dedicated to
women artists across the Switch House and
the Boiler House
Proportion of the opening collection
displays acquired since 2000
60%
64.5
Additional space for art and visitors
Height in metres of the Switch House
70%
Additional display space created, including
dedicated spaces for live performance
and film
1010
Over
54%
Less energy usage, as well as 44% less
carbon generated than required by
building regulations, through the use
of the latest technology and resources,
and the buildings unique design
Over
300
360°
Number of international artists represented
in the newly rehung collection displays
upon the opening of the new Tate Modern
Viewing perspective from the public terrace
on Level 10
1,804
Number of windows
5,305
Square metres of display space in the
Switch House, from the galleries to
the Tanks
336,000
Total number of individual bricks used
to construct the Switch House
55,260
Square meters of floor space, equivalent
to 8 football pitches
3,335
Number of school children from across
the UK that were the first members of
the public to see the new Tate Modern
at a special schools preview day on
Thursday 16 June 2016
11
THE SWITCH HOUSE BY LE VEL
LEVEL 0:
T H E TA N K S
The world’s first museum spaces dedicated
to live art, featuring performance works,
commissions and film, have been
transformed from two of the former
oil tanks.
L E V E L 1:
T E R R AC E E N T R A N C E
A public walkway connects the new
southern Terrace Entrance to the Thames
via the Turbine Hall, while a state of the
art café, world class art bookshop and
newly landscaped external areas provide
lively spaces for visitors to socialise.
L E V E L S 2, 3 A N D 4:
G A L L E R Y S PAC E S
Providing a range of bespoke areas, from
intimate corners to expansive spaces,
the galleries on Levels 2-4 allow a greater
range of collection works to go on display,
including large-scale installation works
that were previously challenging to
display. Level 2 can accommodate varying
sized exhibitions, Level 3 comprises of
nine clustered smaller-scale galleries,
while Level 4 features two expansive,
high-ceilinged galleries, as well as
a cutting-edge conservation studio.
L E V E L S 5 A N D 6:
L E A R N I N G A N D E V E N T S S PAC E S
Providing dedicated spaces for the public to
learn from and engage with the collection,
Levels 5 and 6 include large accessible
spaces suitable for workshops and research,
and state-of-the-art facilities for talks,
films, lectures and events. Level 5 is also
home to Tate Exchange, an ambitious ‘open
experiment’ initially bringing together over
50 organisations with artists to collaborate
with Tate in running events and projects,
using art to address wider social issues.
L E V E L 7:
S TA F F O F F I C E S
New office spaces enabling Tate staff to
work even more closely with the collection
and programme.
L E V E L 8:
MEMBERS ROOM
A beautiful, tailor-made lounge for Tate
Patrons and Members complements the
existing Members Room in the Boiler House,
offering scenic views over the Thames and
providing a tranquil space to unwind.
L E V E L 9:
R E S TAU R A N T
A new restaurant complete with its own
bar, seasonal menu and panoramic views
towards St Paul’s Cathedral and the east.
L E V E L 10 :
V I E WI N G L E V E L
A unique 360-degree public viewing terrace
on top of the building allows for spectacular
and uninterrupted views across the city
and Southwark.
12
Photos: © Tate
13
THE NEW TATE MODERN
OPENING DISPL AYS –
PATRONS SU PP ORTED WORK S
For the first three months following the opening of the Switch House
visitors could view new displays of works from Tate’s permanent
collection, including many new works acquired with support from
the Patrons. Further works acquired with Patrons’ support will continue
to be displayed in the future. The following works, supported by Tate
Patrons, were featured in the opening displays of the new Tate Modern:
Jane Alexander
African Adventure 1999–2002 (featured on p.18–19)
Bernd and Hilla Becher
Blast Furnaces 1969−95, printed 2013
Gas Tanks 1965−2009, printed 2013
Water Towers 1972–2009, printed 2013
Winding Towers (Britain) 1966−97, printed 2013 (featured on p.20–23)
Werner Bischof
Untitled 1934
Martin Creed
Work No. 232: the whole world + the work = the whole world 2000
Roni Horn
Pink Tons 2009 (featured on p.30–31)
Derek Jarman
Blue 1993 (featured on p.32–33)
Maria Lalic
6 works from the History Painting series 1995
Blinky Palermo (Peter Heisterkamp)
Blaues Dreieck 1969
Reiner Ruthenbeck
Corner Cloth 1974, 1975
14
Ai Weiwei
Tree 2010 (featured on p.36–37)
From top:
Martin Creed Work No. 232:
the whole world + the work =
the whole world 2000
© Martin Creed. Presented
by the Patrons of New Art
(Special Purchase Fund) 2001
Photo: Marcus Leith © Tate
Blinky Palermo (Peter Heisterkamp)
Blaues Dreieck 1969
© DACS 2016. Purchased with
assistance from Tate Members
and Tate Patrons 2012.
Photo: Marcus Leith © Tate
Reiner Ruthenbeck Corner Cloth
1974, 1975
© Reiner Ruthenbeck / DACS 2016
Presented by Tate Patrons 2014
Photo: Andrew Dunkley and
Marcus Leith © Tate
Maria Lalic Six paintings from
the History Painting series 1995
© Maria Lalic. Presented by
the Patrons of New Art (Special
Purchase Fund) through the
Tate Gallery Foundation 1997
Photo: Joe Humphrys © Tate
15
ART WORK S YOU HELPED PU RCHA SE
18
Jane Alexander
born 1959
THE ARTIST
Jane Alexander is internationally recognised as a major
contemporary South African artist, rising to prominence in the
early 1990s at the end of the apartheid era. Considering both
local and globally relevant issues, such as discrimination, conflict
and faith, Alexander’s work is often rooted in the history of
South Africa and its experience of apartheid. Despite being well
represented in South Africa, with her early work Butcher Boys
1985–6 being a key work within the South African National Gallery’s
collection, the artist currently has little presence in the UK. Recently,
Alexander has exhibited widely within Africa and internationally
with a number of solo shows, whilst previously having contributed
to a number of major group exhibitions.
African Adventure
1999–2002
T H E WO R K
African Adventure 1999–2002 is considered one of Alexander’s
most important works. Complex and ambitious, the haunting
tableau comprises thirteen individually-titled figures specifically
positioned on a large rectangle of red Bushmanland earth.
Neither human nor animal, these anthropomorphic figures are
simultaneously emblems of monstrosity and strange beauty,
going back and forth between humanity and bestiality, realism
and metaphor, naturalism and the uncanny. Interspersed are
three more animal-like sculptures, speaking of human failure and
a segregated, fragile society, as well as objects including sickles,
machetes, boxes for explosives, and worker’s overalls, evoking
Europe’s historical engagement with Africa.
Previous page:
Patrons enjoy Roni Horn’s
Pink Tons 2009 at a tour of the
Switch House collection displays
on Thursday 30 June 2016. Roni
Horn Pink Tons 2009 © Roni Horn,
courtesy Hauser & Wirth, London.
Purchased with funds provided
by Tate Americas Foundation,
the North American Acquisitions
Committee, the Art Fund, Tate
Members, Tate Patrons, the artist
and with additional assistance
from Dominique Lévy in honour
of Dorothy Berwin 2016.
Photo: Seraphina Neville © Tate
With the work’s title referring to a travel agency in South Africa of
the same name, which arose in response to its recent popularity
as a tourist destination, African Adventure comments on the vestiges
of both colonialism and apartheid, concerns with identity politics
and democracy, and issues of displacement, migration, trade
and tourism. More physically and thematically expansive than
her previous works, African Adventure, while rooted in the postapartheid experience, is not defined by it.
Enjoying a remarkable international visibility despite having
traditionally eschewed publicity and refused commercial gallery
representation, this work, the first by Alexander to enter the
collection, will aid Tate’s priority of diversifying the representation
of artists from Africa and the diaspora.
Jane Alexander
African Adventure 1999–2002
Fiberglass resin, plaster, synthetic
clay, oil paint, acrylic paint, earth,
found and commissioned garments
and objects
Overall display dimensions variable
© Jane Alexander
Purchased with funds provided
by the Africa Acquisitions Committee,
Tate International Council,
Sir Mick and Lady Barbara Davis,
Alexa Waley-Cohen, Tate Patrons,
Tate Members and an anonymous
donor 2016
Photos: Joe Humphrys © Tate
Top: African Adventure 1999–2002
on display at Tate Modern
Bottom: Detail of African Adventure
1999–2002
19
Bernd and Hilla Becher
1931–2007, 1934–2015
THE ARTIST
German born artist-photographers Bernd and Hilla Becher
are key figures in the history of photography, having exerted
a significant influence on a generation of artists and photographers
who followed, through both their own photographic practice and
their tutelage at the Kunstakademie Düsseldorf, Germany, which
included photographers such as Andreas Gursky, Candida Höfer,
Thomas Ruff and Thomas Struth.
Born in Siegen, Bernhard Becher studied graphic art and lettering
at the Stuttgart and Düsseldorf Academies. Having initially
made paintings and lithographs of industrial structures in 1953,
influenced partly by de Chirico, he gave up painting completely by
1957, turning his interest more towards the buildings themselves,
having started taking photographs himself from 1956. Meanwhile,
Hilla Becher was born in Berlin and had studied photography in
Potsdam. She was working as a photographer in advertising at the
time she met Bernd in 1959. Deciding to give up advertising, she
had begun to study at Düsseldorf Academy, where she also taught
in the photographic department. In 1959, the pair started their long
standing collaboration, which continued until Bernd’s death in 2007
and drew on the formal traditions of early industrial architectural
photography by practitioners such as Charles Marville (1813–1879)
or Richard Gessner (1894–1989).
The fact that works by students of the Düsseldorf School currently
makes up the single best represented body of photographic work
within Tate’s collection is a testament to their wide ranging impact
on contemporary photographic practice. Their enduring and
wide-reaching influence, which can be traced throughout
movements such as minimalism and conceptual art, can also
be seen to bridge the traditional distinctions between art and
photography, repositioning the status of photography within
the context of fine art.
Bernd Becher and Hilla Becher
Gas Tanks 1965–2009
9 photographs, gelatin silver print
on paper
Displayed: 1720 x 1420 x 21mm
© Estate of Bernd Becher &
Hilla Becher
Winding Towers (Britain) 1966–1997
9 photographs, gelatin silver print
on paper
Displayed: 1720 x 1420 x 21mm
© Estate of Bernd Becher &
Hilla Becher
20
Purchased with funds provided
by Tate International Council,
the Photography Acquisitions
Committee and Tate Patrons 2015
Photos: Marcus Leith © Tate
21
Typologies
1965–2009
Blast Furnaces
1969−95
Printed 2013
Gas Tanks
1965−2009
Printed 2013
Water Towers
1972–2009
Printed 2013
Winding Towers
(Britain)
1966−97
Printed 2013
T H E WO R K S
Primarily preoccupied with taking systematic series of photographs
of old industrial plants and buildings, the Bechers began their
work in mainland Europe, predominantly in Germany, France,
Belgium and Luxembourg, before also working in Northern Europe
and the USA from 1965. Eventually taking over 200 photographs,
they pay equal attention to the historical significance and formal
appearance of their subjects, which they saw as implicitly bound
to the geography and economy of the region, combining to create
what they termed ‘anonymous sculptures’. By consistently working
in overcast conditions, thereby avoiding shadows, and using a
large format camera, their prints achieve a flat neutrality, rendering
the time and date of each image irrelevant. This, together with
their shooting from one of three perspectives – as a detail, in its
surroundings or in its entirety – allowed them to create flowing
typologies based on shared forms, functions and shapes.
Standing in stark contrast to the dominant photographic aesthetic
of the 1950s and early 1960s, their approach instead drew on
attitudes of the inter-war avant-garde movement New Objectivity,
and conceptual and minimalist ideas.
Blast Furnaces 1969−95 consists of twenty-four gelatin silver print
photographs, while each of the other typologies are comprised of
nine photographs each arranged into rows of three, printed in 2013
under the supervision of Hilla Becher. Each of the fifty-one prints are
from an edition of five, however each typology has been uniquely
sequenced by Hilla Becher. Each contains photographs taken across
several decades, ranging from the 1960s to the 2000s, and with
the exception of Winding Towers (Britain) 1966−97, across different
locations in Europe and the United States, providing an exemplary
cross-section of their work and highlighting the consistency of
their practice.
Their work has links to many other works in the Tate collection,
across New Objectivity, post-war, and minimal and conceptual
movements, as well as photographers of the Düsseldorf School
itself. With photography being one of Tate’s collection priorities,
these typologies highlight how photographic technique and ideas
were developed and disseminated through their legacy. The
Bechers are also represented in the Tate collection by Coal Bunkers
1974 and Pitheads 1974.
22
From top:
Bernd Becher and Hilla Becher
Water Towers 1972–2009
9 photographs, gelatin silver print
on paper
Displayed: 1720 x 1420 x 21mm
© Estate of Bernd Becher &
Hilla Becher
Blast Furnaces 1969–1995
24 photographs, gelatin silver
print on paper
Displayed: 1692 x 3715mm
© Estate of Bernd Becher &
Hilla Becher
Typologies 1965–2009 on display
at Tate Modern
All works © Estate of Bernd
Becher & Hilla Becher
Purchased with funds provided
by Tate International Council,
the Photography Acquisitions
Committee and Tate Patrons 2015.
Photos: Marcus Leith © Tate
23
Joan Carlile
c.1606–1679
THE ARTIST
Joan Carlile is arguably the earliest British female professional
artist known to work in oil. In comparison to one of her female
contemporaries, the celebrated portraitist Mary Beale (1633–1699),
relatively little is known about Carlile. It appears that she specialised
in small-scale full length portraits, most often depicting women.
Only nine other of the artist’s portraits are known to exist, with two
currently being held in public collections (Ham House, National Trust,
and the National Portrait Gallery) and the others in historic house
collections and family trusts. Recorded in a list of contemporary
English artists worthy of note by William Sanderson, published
in 1658, Carlile featured before Beale and first of the four women
artists listed as working in oil, suggesting that she was perhaps best
known of the four. Having once lived in Petersham, she was recorded
as living in Covent Garden in London in 1654, the then heart of the
artistic community.
Portrait of an
Unknown Lady
1650–5
T H E WO R K
This portrait of an unknown lady depicts a full length figure elegantly
postured in a white satin dress in a rugged landscape. The sunset
river valley in the background assumes particular prominence and
appears to have been cut down slightly at some point in the past.
This portrait is a typical example of Carlile’s paintings, which often
depicted women in large landscapes or garden settings, with some
of the artist’s other known works indicating that sitters were often
drawn from her social circle. Her status as a professional working
artist is further suggested by the recurrence of template patterns,
particularly the unknown lady’s dress, which appears in two other
of Carlile’s portraits; one depicting the figure facing the same way,
the other in reverse, but both wearing the same white dress.
This rare work by the artist will help to illustrate her previously
overlooked significance in the history of early women artists and
becomes the earliest work by a woman artist in Tate’s collection.
24
Joan Carlile
Portrait of an Unknown Lady 1650–5
Oil paint on canvas
Support: 1107 x 900 mm
Presented by Tate Patrons 2016
Photo: Mark Heathcote and Abbie Soanes © Tate
25
Ruth Ewan
born 1980
THE ARTIST
Graduating from Edinburgh College of Art in 2002, Scottish born
conceptual artist Ruth Ewan has presented solo exhibitions at
Dundee Contemporary Arts and Camden Arts Centre, and in
triennials at the New Museum, New York and Folkestone, Kent.
Her work has previously been shown at Tate, as part of Tate Britain’s
Altermodern: Tate Triennial in 2009 and Tate Liverpool’s Art Turning
Left in 2013, as well as Tate Britain’s The Darks in 2014, a unique
audio tour exploring the site’s history.
Employing a variety of diverse forms, from installations and
performance to printed material, Ewan often gives prominence
to radical thinkers and revolutionary ideas from the political and
the social spheres of yesterday. Illuminating history’s continued
relevance and enduring impact on the present through these ideas,
Ewan’s work sees history as not solely restricted to the past.
We could have been
anything that we
wanted to be
(red version)
2011
T H E WO R K
We could have been anything that we wanted to be (red version) 2011
assumes the form of a large, wall-hung clock. Seemingly normal on
first impressions, the clock abandons the now accepted twenty-four
hour measurement in favour of an unusual decimal system, dividing
each day into ten hours, each hour into a hundred minutes, and
each minute into a hundred seconds. This references the radical
idea enacted on 5 October 1793 by the then newly formed Republic
of France, who replaced the Gregorian calendar and redefined the
day along decimal lines. A product of the social and political change
at the time, this system remained France’s official calendar for
thirteen years, during which period time itself briefly symbolised
an expression of revolutionary optimism.
This work is one of two clocks made in relation to a commission
of the same name for the 2011 Folkestone Triennial, which saw
ten decimal clocks installed around the seaside town in prominent
and unexpected positions, from the town hall clock to inside a pub
or a local taxi. This new major acquisition joins Ewan’s The World
We Live In (Fred) 2008 in Tate’s collection, further highlighting the
breadth of her practice.
26
Ruth Ewan
We could have been anything that
we wanted to be (red version) 2011
Modified analogue clock
Object: 1015 x 1020 x 305mm
© Ruth Ewan
Purchased with funds provided
by Tate Patrons 2015
Photo: Mark Heathcote and
Abbie Soanes © Tate
27
Antony Gormley
born 1950
THE ARTIST
The renowned English sculptor and draughtsman Antony Gormley
initially studied archaeology, anthropology and art history at
Trinity College, Cambridge. Associated with New British Sculpture
in the 1980s, whose influences encompassed the ideals of Indian
sculpture and philosophy and modernism, Gormley often relates
our physicality and spiritually to the world around us, creating
either small scale works or works larger than the human form, with
many being made specifically for natural environments. Gormley
was named winner of the Turner Prize in 1994 for Field, for which
thousands of hand-sized clay figures, made by communities across
the world, filled gallery spaces, returning the audiences’ gaze
and challenging the traditional observer-subject dynamic. He is,
however, perhaps best known for creating lead figures cast from
his own body and the Angel of the North, which stands tall over the
M1 motorway in Gateshead, England.
The Model Room
2006–2012
T H E WO R K
The Model Room is an ambitious and encyclopaedic distillation of
Gormley’s practice over the past decade, comprising of thirty-eight
small scale sculptural models and twelve works on paper, rendering
aspects of the artist’s imposing sculptures and highlighting the
formal geometric relationships between them. Being representative
of his ‘Blockwork’ series made between 2006 and 2012, each model
is unique and specifically selected for Tate by the artist. Having
initially been exhibited at White Cube Bermondsey, London, in
November 2012, this forms an edited version of the work, whose
title derives from the comprising small-scale representations,
as well as the notion of exemplary structural and material
experiments. Encountered at waist height on bespoke tables,
the models assume the role of specimens ready for examination,
suggesting a certain ‘totality’.
Representing the evolution of his sculptural practice over the last
two decades, which has increasingly seen the artist create largescale monumental works, The Model Room makes a significant
addition to the current holding of Gormley’s work in Tate’s
collection, which includes six sculptures and three works on
paper, all created pre 1993.
28
Antony Gormley
The Model Room 2006–12 (details)
Models in polystyrene, cast iron,
plaster, wood, stainless steel,
nylon, acrylic sheet, wire and
cardboard; 9 drawings, pigment
on paper; and 3 drawings,
pigment and casein on paper
Displayed dimensions variable
© Antony Gormley
Purchased with funds provided
by Anton and Lisa Bilton, Tate
Patrons, the Knapping Fund and
an anonymous donor 2016
Installation view of Model,
White Cube Bermondsey,
London, England, 2012.
Photo: Ben Westoby
© White Cube
29
Roni Horn
born 1955
THE ARTIST
Roni Horn is a prominent American sculptor, installation artist and
photographer. In 2009, Tate Modern staged Roni Horn aka Roni Horn,
a retrospective of the artist’s work jointly organised with the
Whitney Museum of American Art, New York.
Often exploring the changing nature of identity, Horn’s sculptural
works borrow from the vocabulary of minimalism, which she
often describes as ‘site-dependent’, being intricately bound in a
relationship with their environment. Her glass works in particular
explore how the intrinsic qualities of their material are altered by
the spaces they occupy, embodying her ideas about the mutability
of our identity, as they continually shift in appearance from fluid
to impenetrable in the changing light. Horn has previously taken
inspiration from the ever changing and isolated landscape of
Iceland, particularly the continually transforming appearance
of water in the harsh environmental conditions.
Pink Tons
2009
T H E WO R K
Horn began creating a body of cast glass sculptures in the mid1970s. Characterised by opaque rough edges and shiny transparent
fibre-polished top surfaces, these extremely heavy sculptures all
differ in size, shape and colour, taking months to set.
Signifying Horn’s largest glass work to date, Pink Tons is an
edition of three, each of which is unique due to its production
process. Weighing approximately 4.5 tons, the work pervades the
atmosphere of the gallery, yet upon closer inspection the polished
transparent surface suggests a fluidity, as if transformed into a pool
of brilliantly clear water. Responding to its environment, the glass
catches light that illuminates the work, changing its character and
identity as small air bubbles become visible. Commenting on the
mutable nature of identity, the work can also be seen as a response
to the machismo of early minimalist sculpture.
30
Roni Horn
Pink Tons 2009
Glass
Object: 1100 x 1200 x 1200mm,
4514kg
© Roni Horn, courtesy Hauser
& Wirth, London
Purchased with funds provided
by Tate Americas Foundation,
the North American Acquisitions
Committee, the Art Fund, Tate
Members, Tate Patrons, the artist
and with additional assistance
from Dominique Lévy in honour
of Dorothy Berwin 2016
Photo: © Tate
With glass works comprising a significant area of Horn’s practice
previously unrepresented in Tate’s collection, this work will help
provide a more comprehensive overview of her oeuvre, joining two
early text sculptures, a large wall drawing, a print, and a series of
lithographs and books in the collection.
31
Derek Jarman
1942–1994
THE ARTIST
Derek Jarman is an English filmmaker, theatre designer, writer and
painter. Having trained as a painter, his work with film is arguably
his most important and saw him become an internationally
renowned film director. However, the relationship between painting
and film remained a central tenet of his oeuvre, most readily seen
in his painterly rather than cinematic approach to film. Engaging
with political and social themes, Jarman was shortlisted for the
Turner Prize in 1986, primarily for his achievements as a filmmaker.
His diagnosis as HIV-positive in December 1986 profoundly
influenced his later works, with his late paintings being highly
coloured, violently painted works featuring poignant words
or slogans.
Blue
1993
T H E WO R K
Blue 1993 was the artist’s final feature film, completed only a few
months prior to his death from AIDS-related complications. The
work comprises of a projected blue screen with a soundtrack
of diaristic and poetic text written by Jarman, spoken by him
alongside his long-term collaborators, and music and sound by
Jarman’s regular composer Simon Fisher-Turner among others.
Initially intended to directly engage with the work and philosophy
of major French post-war artist Yves Klein, referencing his notions
of the void and immateriality through his own pigment,
‘International Klein Blue’, the work underwent a number of changes
over the years. In its final form, Blue acted to address Jarman’s
battle with AIDS, much as his late paintings had done, becoming
a mediation on colour, the void and his disease. Its monochrome
glow references the partial blindness he suffered towards the
end of his life, evoking powerful images of his mental, physical
and emotional strain, and imagining a journey towards a zone
of immateriality and the limitlessness of liberation.
Jarman is also represented in Tate’s collection by one of his late
paintings, Ataxia - Aids is Fun 1993, while Blue was previously
displayed at Tate Modern in October 2013 to mark the life and
work of the artist two decades after his death.
32
Derek Jarman
Blue 1993
35mm film shown as video, high
definition, colour and sound
Duration: 79min
© Basilisk Communications Ltd, 1993
Presented by Tate Patrons 2014
Photo: Andrew Dunkley and
Olivia Hemingway
© Tate
33
Helen Marten
born 1985
THE ARTIST
Helen Marten is a British sculptor and video artist who was
shortlisted for the Turner Prize 2016. Having studied at Central
Saint Martins, London and then The Ruskin School of Art, Oxford,
she has become a key proponent of an emerging generation of
British artists, together with Ed Atkins and James Richards. She
has held solo shows at Kunsthalle Zürich, Zurich, Palais de Tokyo,
Paris and Chisenhale Gallery, London, as well as showing work at
the 55th International Venice Biennale. In recent years Marten has
become known for her complex contemporary sculptural practice
that utilises a wide range of media, from video and sculpture, to
installation and painting. Employing distinctive methods of collage
and assemblage, Marten borrows disparate concepts, materials and
objects from the realms of advertising, the internet and technology
to create ambitious narratives and construct meaning around how
we understand and relate to material culture.
Guild of Pharmacists
2014
T H E WO R K
Guild of Pharmacists 2014 is a wall-based relief installation, whose
constellation of hand-made objects and happened-upon debris of
consumer culture makes reference to a traditional pharmacists sign,
which features the serpent of Epidaurus on the staff of Aesculapius.
Four horizontal aluminium and steel tubes protrude from the wall
to support a number of uniquely carved and lacquered hardwoods
arranged to suggest the body of a serpent, while draped material
hangs down suggesting a staff. An open framework for an awning
looms above, displaying a miscellaneous arrangement of objects
that include, among other things, a FedEx envelope. The Formica
base, which acts to frame the work, suggests a shop-front
panorama and reinforces the sense of display.
Exploring our relationship to everyday objects, Marten examines
how we physically and psychologically negotiate these items,
ordering and forming complex associations with them over time.
Questioning the accepted occurrences of daily circumstance, this
work explores the development of connections between language,
image, form and meaning over time. Signifying a key example of
contemporary sculptural practice, this is the first of Marten’s work
to be represented in the collection, continuing Tate’s focus on
contemporary female artists.
34
Helen Marten
Guild of Pharmacists 2014
Hardwood, Valchromat, textiles, formica, ash,
walnut, feathers, silver leaf, tennis ball, toy snake
and other materials
Displayed: 2940 x 3720 x 1090 mm
© Helen Marten, courtesy Sadie Coles HQ, London
Purchased with funds provided by Tate Members
and Tate Patrons 2015
Photo: Annik Wetter, Geneve
35
Ai Weiwei
born 1957
THE ARTIST
Beijing born Ai Weiwei is a leading figure in modern visual arts
and has become one of China’s most important living artists and
activists. Working in a variety of media, the artist often employs
a conceptual approach in dealing with the juncture between
traditional and contemporary Chinese culture, its complex social
and geopolitical issues, and the individual and society. Having
exhibited widely internationally, he worked with Herzog & de
Meuron on the development of the bird’s nest design for the Beijing
Olympic Stadium and in 2010 he filled Tate Modern’s Turbine
Hall with one hundred million intricately hand-crafted porcelain
sunflower seeds, commissioned for the Unilever Series. Most
recently, in 2015 he staged a major solo exhibition at the Royal
Academy of Arts, London, featuring a number of his tree works.
Tree
2010
T H E WO R K
Tree 2010 is the largest of nine similar smaller sculptures, each of
which is unique and assembles individual dry and ‘dead’ branches,
roots and trunks from various species of tree gathered across China
into the form of a real tree. Referencing the cycle of birth, decay,
death and rebirth inherent in traditional Chinese Zen gardens, as
well as the Buddhist and Taoist ideas of ephemerality and harmony,
the work unifies man with nature, and links the earth with the sky.
It also celebrates a traditional Chinese custom whereby distinctive
trunks and branches are sold at markets for display in the home.
By allowing the human touch to remain visible in the obvious
joins and changes in the wood’s surface, the relationship between
material and form is bought to the fore, removing the initial illusion
of being a natural form. This assemblage arguably alludes to China’s
rapid urbanisation and economic growth, the perceived damage
this has had on the country’s environment and traditional culture,
as well as the changing relationship between individual and society.
Enriching the representation of Ai Weiwei’s varied practice,
Tree 2010 joins Table and Pillar 2002 and Sunflower Seeds 2010
in Tate’s collection.
36
Ai Weiwei
Tree 2010
Tree sections and metal bolts
Object: 6800 x 6500 x 6500mm
© Ai Weiwei
Purchased with funds provided by
Tate International Council, Tate Patrons
and Yuz Foundation with support from
Ai Weiwei 2016
Photo: Mark Heathcote © Tate
37
E XHIBITIONS YOU HELPED STAGE
Fighting History
Tate Britain
9 June –
13 September 2015
Tate Britain’s Fighting History presented a unique celebration of 250
years of British ‘history painting’, a genre that, from 1700 to 1900,
was considered to be the highest achievement of art. Its large-scale
scenes from mythology, scripture, literature or modern history tell
a story and prompt audiences to think about morality and our place
in history. Although chiefly associated with names such as Benjamin
West and John Everett Millais, the exhibition set out to show that
history painting continued to be practiced by Stanley Spencer,
Winifred Knights, Richard Hamilton and other key twentieth century
figures. More recently, contemporary artists, notably Dexter
Dalwood, have again turned to the genre, reclaiming the term
‘history painting’ to describe their practice.
The current cultural context suggested that now was a timely
moment to present the first-ever exhibition focusing on the genre.
A number of loans complemented Tate’s extensive collection of
history paintings, and historical works were selected that echoed
in recent art. At the heart of the show was the comparison of
John Singleton Copley’s The Death of Major Peirson, 6 January 1781
1783, and Jeremy Deller’s The Battle of Orgreave 2001, both minute
reconstructions of events that occurred in the artists’ lifetimes.
A dramatic final room, and my personal highlight, saw Dalwood’s
The Deluge 2006, a 4-metre wide canvas inspired by the
New Orleans floods, hung with scenes of the Biblical Deluge
by Francis Danby, JMW Turner and Winifred Knights. Exhibition
walls were boldly painted in red, white or blue, reflecting the
union flags depicted in the paintings, and the lighting in the
Deluge room was low and gloomy, giving an atmosphere fitting
to the end of the world.
Fighting History set out to increase understanding of a difficult, vital
component of British art history. The responses of audiences who
attended tours suggested that, given time to read these works,
they can prompt us to enjoy the stories they tell and meditate on
big questions.
Greg Sullivan
Curator, British Art, 1750–1830
40
Previous page: Patrons viewing
Alexander Calder’s Black Widow
1948 (left) and Red Gongs 1950
(right) at a curator-led tour of
Alexander Calder: Performing
Sculpture on Wednesday
2 December 2015.
Photo: Oli Cowling © Tate
Installation shots of Fighting History
Top:
Left: Dexter Dalwood The Poll Tax Riots 2005. Middle: Richard Hamilton Kent State 1970 © The estate
of Richard Hamilton, Purchased 1984. Right: Robert Edge Pine John De Warenne, 6th Earl of Surrey,
Giving his Answer to the King’s Justices on the Enforcement of the Statute of Quo Warranto 1278 1771
Bottom:
Left: Dexter Dalwood The Deluge 2006. Right: Francis Danby The Deluge exh. 1840. Presented by the
Friends of the Tate Gallery 1971
Fighting History was supported by Tate Patrons
Photos: Lucy Dawkins © Tate
41
Frank Auerbach
Tate Britain
9 October 2015 –
13 March 2016
Frank Auerbach was organised by Tate Britain, first opening at
the Kunstmuseum Bonn, Bonn, in June 2015 before travelling to
Tate Britain in the autumn. External curator Catherine Lampert,
who has sat for the artist in his studio every week for thirty-seven
years, worked closely with the artist and Tate curators to create this
retrospective that spanned seven decades. Over ninety percent of
the works exhibited were loaned from private individuals and some
of the paintings had not been seen in the public domain since they
were first exhibited in the 1950s.
Largely selected by the artist himself, the exhibition developed
chronologically, from one of Auerbach’s breakthrough building
site pictures from the early 1950s – when he was twenty-two years
old – to more recent drawings and paintings. The artist selected
the works in each room in the hope of revealing the sheer diversity
and constant reinvention in his practice, both across time and
within each decade. The final, double module had a thematic
hang, focusing primarily on the site of the artist’s studio and its
surroundings. This seemed an apt conclusion to the exhibition,
with Auerbach being known for painting 365 days a year in his
studio in Mornington Crescent, North London, where he has lived
and worked since 1954.
The use of natural light throughout, the generous spacing of the
installation and the changing configuration of the hang are some
of the factors that contributed to foregrounding the paintings
and drawings, and the appreciation of each based on their own
individuality. Audiences appreciated the priority given to the
aesthetic experience, and throughout it’s run, the exhibition
received universally and overwhelmingly positive responses,
being described by visitors as ‘sublime’, ‘beautiful’, ‘emotional’
and ‘engrossing’. The exhibition was a great success in generating
a wider knowledge and appreciation of the work of one of Britain’s
most daring and elusive painters, celebrated by the press as one of
the most significant artists working today.
Elena Crippa
Curator, Modern and Contemporary British Art
42
Frank Auerbach was supported by Maryam and Edward Eisler, with additional
support from the Frank Auerbach Exhibition Supporters Group and Tate Patrons
Installation shots of
Frank Auerbach
Top:
Left: Frank Auerbach
Looking Towards Mornington
Crescent Station 1972–4,
Middle: Primrose Hill 1971,
Right: The Origin of the Great Bear
1967–8
Presented by the executors of
the estate of David Wilkie 1993
© Frank Auerbach
Bottom:
E.O.W., S.A.W. and J.J.W. in
the Garden I 1963
Photos: © Tate
43
Alexander Calder:
Performing Sculpture
Tate Modern
11 November 2015 –
3 April 2016
Alexander Calder: Performing Sculpture was the first substantial show
of the work of Alexander Calder in Britain in over two decades,
bringing to the fore the radical nature of the artist’s thinking and
his exploration of performance as a driving force in the rejuvenation
of his sculptural language.
Presenting the pioneering ways in which Calder recognised that
sculpture could move of its own accord, meaning that the spectator
no longer had to circumvent a static object, the exhibition included
a careful selection of the artist’s work. Works shown included
his wire portraits and early sculptural experiments with sound,
interaction and motorised functions, a gallery devoted to works
inspired by the world of the circus that so fascinated Calder, and
works highlighting his transition towards full-blown abstraction
and his relation to other key modernist figures. His impressions
of the universe and the cosmos, together with his mobiles that
revolutionised the field of sculpture, opening up the works to the
experience of time, the concept of the fourth dimension, chance
and performance, were also comprehensively represented.
Presenting this unique perspective on Calder’s work, through the
lens of the performative, is something not attempted in previous
shows of his work. This different perspective resonates with Tate’s
commitment to creating more awareness about performance
practices and investigating the work of modernist artists and
canonical figures who pioneered performative attitudes. Such
insights have proven extremely popular, marking a successful
reassessing of Calder’s enduring legacy.
The show also presented a number of Calder’s works for the first time
in both London and a museum setting. The remarkable suspended
mobile Black Widow c.1948 was displayed for the first time outside
Brazil, while Chef d’Orchestre 1966, an experimental work that is
simultaneously a sculpture, an instrument and a conductor, was
performed in the Turbine Hall during the exhibition’s opening week.
The accompanying Calder Piece, the only composition written for this
artwork, was also performed for the first time in 35 years.
Vassilis Oikonomopoulos
Assistant Curator, Tate Modern
44
Alexander Calder: Performing Sculpture was supported by Terra Foundation
for American Art, with additional support from the Performing Sculpture
Supporters Circle, Tate International Council and Tate Patrons
Installation shots of Alexander Calder: Performing Sculpture
Top:
Left: Alexander Calder
Red Panel 1936
Right: Snake and the Cross 1936
Bottom:
Left: Gamma 1947
Right: Red and Yellow Vane 1934
Photos: Andrew Dunkley © Tate
45
Performing for
the Camera
Tate Modern
18 February –
12 June 2016
Performing for the Camera examined the relationship between
photography and performance, from the invention of the
photographic medium in the nineteenth century to the digital
cameras and social media of today. Bringing together photographs
made to document performances by artists, actors and dancers,
with works made by artists who use the camera as a tool to produce
their own performative images, the exhibition encompassed serious
works of art dealing with identity politics, carefully constructed
fantasies, and witty improvisational snapshots.
Introducing the themes of the exhibition, the show began by
presenting work by three very different artists; Yves Klein, who was
celebrated for his monochrome paintings and live events, Aaron
Siskind, who was best known as a photographer, and Charles Ray,
who works primarily with sculpture. Each used and understood the
relationship between performance and photography in a unique
and distinct way. From this point of departure, the rich and varied
field of artistic practice was explored, discovering that performance
art is often more photographic, and photography more performative,
than their usually separate histories suggest.
Alongside the work of Yves Klein, the first section also displayed
photographic series documenting performances by artists like
Yayoi Kusama and Dan Graham, alongside images of choreography
by Merce Cunningham, with many made by photographic duo
Harry Shunk and János Kender, who documented key moments
in performance art in the 1960s and 1970s. Collaborations
between photographers and performers, from the Nadar studio
of 19th century Paris, to the 20th century, by Eikoh Hosoe and
Tatsumi Hijikata, were then examined, before moving on to
physical performances by artists who recorded their actions with
photographs, such as Paul McCarthy and Francesca Woodman, and
the exploration of identity, stretching from the 19th century pioneers
of performative photography to well-known artists such as Cindy
Sherman and Andy Warhol. Finally the lens was turned back on the
performance of everyday life, with playful self-portraits in which
artists like Boris Mikhailov and Amalia Ulman created sophisticated
and believable fantasies by turning their cameras on themselves.
Simon Baker
Senior Curator,
International Art (Photography)
46
Fiontán Moran
Assistant Curator
Performing for the Camera was sponsored by Hyundai Card with
additional support from Tate International Council and Tate Patrons
Installation shots of
Performing for the Camera
Photos: Andrew Dunkley &
Joe Humphrys © Tate
Top:
Charles Ray Plank Piece I-II 1973
ARTIST ROOMS Acquired jointly
with the National Galleries of
Scotland through The d’Offay
Donation with assistance from the
National Heritage Memorial Fund
and the Art Fund 2008
Middle:
Erwin Wurm One Minute Sculptures
1997 (left) and Untitled (Claudia
Schiffer series) 2009 (right).
Courtesy the artist and Lehmann
Maupin, New York and Hong Kong
Bottom:
Amalia Ulman Excellences
& Perfections 2014
Courtesy the artist and
Arcadia Missa, London
47
HOW YOU HELPED OTHER S EN JOY TATE
E ARLY YE AR S AN D
FA MILIE S PROGR A MME
TATE BRITAIN AN D TATE MODERN
The Early Years and Families London programme presents crossdisciplinary ways for children and intergenerational audiences to
engage with and deepen their understanding of art.
Working with artists and cultural practitioners alongside early years
and family learning specialists, activities are designed to promote
cultural engagement through playful enquiry, improvisation and
collaboration. Encompassing formal and informal learning, from
in-gallery events through to targeted outreach projects in local
communities, our audience range is extensive.
8 –14 ST U DIO
In July 2015, a new programme of activities for 8–14 year olds was
launched at Tate Modern with 8–14’s Summer Club, led by artist
Joseph O’Farrell. This week-long workshop programme concluded
with the creation of a Turbine Hall installation, Moonlight Moonlight,
in which the participants offered guided tours and performances
around it’s inflated environment for their families. An ongoing
monthly event, 8–14’s Studio, continues to allow participants
to explore artistic practices linked to the collection working with
professional artists.
50
Previous page: A.S.S.E.M.B.L.Y.
schools preview day of the
new Tate Modern on 16 June
2016. Organised by Tate London
Schools and Teachers team
in collaboration with artist
Emma McGarry.
Photo: Lucy Dawkins
© Tate
Photo: Oli Cowling © Tate
51
SCHOOL S AND TE ACHER S
PROGR A MME
TATE BRITAIN AN D TATE MODERN
The Schools and Teachers team work with more than 200,000 school
children aged 5–18 and their teachers in the galleries each year.
The team works with practising artists to create workshops,
resources, teachers evenings and courses that encourage students
and teachers to try out ideas, processes and methods to support
engagement with art and culture and to develop these back in
the classroom. The programme works with young people with a
range of learning needs, with a dedicated strand of SEND (Special
Educational Needs and Disability) activities offered throughout
the year.
DIGGIN ’ TH E G ALLERY
Diggin’ the Gallery is a two year project by the Tate London Schools
and Teachers team in collaboration with the artist Ben Connors and
the organisation Daytrippers, who support young SEND audiences,
and is part of a long-term programmatic priority to broaden our
understanding of a pan-disability audience and champion an
inclusive approach. A range of artists have been invited to develop
activities and artworks for a series of events, using their specialist
tools to support young people to ‘mine’ for ideas inspired by the
Tate collection, by searching for words, textures, smells, sounds,
movements and patterns, before creating poems, collages, sound
compositions and performances.
52
Diggin’ the Gallery: Adventure in 2017 will see a return of these artists
alongside new ones for a day-long interdisciplinary event supporting
young people to feel ownership and agency of Tate Britain with a view
to them having the confidence to return independently. The Schools
and Teachers team have established Diggin’ the Gallery champions,
a project group made up of colleagues across Tate, including Front
of House, Learning and Conservation. Acting as ambassadors for
the project, the champions will work with the Schools and Teachers
team and their respective departments to share their expertise and
experience of supporting diversity and difference at the gallery.
Photos: © Tate
53
YOU NG PEOPLE’ S PROGR A MME:
TATE BRITAIN
Tate’s Young People’s Programme delivers a diverse programme
of events, festivals and opportunities for young people aged
between 15–25 years to experiment, create and innovate
through art and ideas at Tate Britain, Tate Modern and online.
L ATE AT TATE BRITAIN
A programme of free curated events targeted at those aged
18–25, Late at Tate Britain brings together like-minded people
by combining Tate’s collection with music, performances and
hands-on workshops after hours. The programme aims to
diversify Tate’s younger audience to reflect the ethnic diversity
of London and engage those who might not otherwise visit
the gallery.
For 2015, Late at Tate Britain consisted of six events curated by
Tate Collective London, Tate’s young people’s group who develop
and deliver events specifically for their peers. Taking inspiration
from the theme of ‘Status’, each event was based around ideas of
power, the body, and celebrity, from which participants explored
representations of status over time throughout the Tate Collection.
Late at Tate Britain events
throughout 2015, focusing
on the themes of Question,
Disrupt, Transform, Power,
Body and Celebrity
54
Photos: © Tate
55
TATE RE SE ARCH CENTRE: LE ARNING
TATE BRITAIN AN D TATE MODERN
The Tate Research Centre: Learning (TRC:L) launched in October 2014
to promote research and knowledge exchange, inform learning
practices within the gallery environment, and build on Tate’s
internationally recognised learning programme. With learning
becoming increasingly important within the twenty-first century
museum, the TRC:L collaborates with existing worldwide museum
and academic partners, hosting a range of conferences and
symposia, research-led practice sharing sessions and professional
development events, establishing a key research network.
Throughout 2015 and 2016, the Centre hosted a number of focused
events bringing together specialists from a range of disciplines
including the museum and arts sector. Events explored topics
including inclusive forms of arts based dialogue and exchange,
experimental approaches to and methods of engagement in the
museum, and ethics practices associated with working with diverse
audiences and around participatory and digital projects.
56
Photos: © Tate
57
HOW YOU HELPED C ARE
FOR THE COLLEC TION
CONSERVATION OF
CHARLE S L AN DSEER ’ S
TH E PLUN DERI NG O F BA SI NG HOUSE
E XHIBITED 1836
Charles Landseer
1799–1879
THE ARTIST
Charles Landseer was an English painter known for depicting
animals and historical scenes, mostly from British history. He
was the elder brother of Sir Edwin Henry Landseer (1802–1873),
who was known for his paintings of animals and the bronze lion
sculptures in Trafalgar Square, London. Both studied under fellow
English painter Benjamin Robert Haydon.
The success of Charles’ painting The Plundering of Basing House
in particular contributed to his election as an associate of the
Royal Academy of Arts, London, in 1837. He went on to become
a Royal Academician in 1845 and Keeper of the Royal Academy
in 1851, exhibiting 73 paintings, most of which were of historical
subjects, before his death in 1879. The Plundering of Basing House
was the first in a series of six works inspired by episodes from
the reign of Charles I and the British Civil War. He was lauded for
the accuracy of his portrayals, the details of which were taken
from original accounts of the siege presented to Parliament.
60
Previous page:
Patrons enjoy a tour of Painting
with Light: Art and Photography
from the Pre-Raphaelites to the
Modern Age on Monday 16 May
2016, featuring Charles Landseer’s
The Plundering of Basing House
exhibited 1836.
Photo: Aleksandra Wojcik
© Tate
Charles Landseer The Plundering
of Basing House exhibited 1836.
Bequeathed by Jacob Bell 1859.
Painting conservation supported
by Tate Patrons 2016.
Photo: Joe Humphrys © Tate
During varnish removal,
March 2016
61
The Plundering of
Basing House
exhibited 1836
T H E WO R K
Painted towards the end of the Georgian era, The Plundering of
Basing House, exhibited 1836, was a highlight of The National
Gallery, London, during the Victorian period. The violent subject
matter depicts the final siege committed by Oliver Cromwell’s
troops against the Catholic stronghold near Basingstoke on
14 October 1645. Set momentarily after the siege, Marquess
John Paulet, the house’s owner and supporter of King Charles I,
can be seen slumped dejectedly in his chair. The imagery of the
Civil War chimed with the more contemporary troubles of the
eighteenth century, such as the French and American Revolutions,
and it can be argued such imagery still holds relevance today.
The canvas was found to have its original loose lining. Black
electrical tape, added to the canvas edges in the 1960’s, was
removed to allow for the repair of the fragile and damaged tacking
margins, reinforcing the canvas edges. Two layers of excessively
discoloured varnish were found to have muted the paint’s original
brightness. In preparation for cleaning, extensive technical analysis
revealed that Landseer, like Reynolds before him and many of his
contemporaries, chose to modify his oil paints with resin, wax and
even starch granules. During the treatment, great care was taken to
thin rather than completely remove varnish over sensitive areas of
paint. Some old, darkened overpaints were also carefully removed
and a few minor losses and abrasions retouched. The painting was
then re-varnished, restoring its vibrancy, and the overall treatment
has revealed the painting’s true colours and tonal relationships.
This vital conservation allowed the painting to go on display in
Tate Britain’s 2016 exhibition Painting with Light, clearly illustrating
the artist’s influence. In 2012, it was discovered that pioneering
Victorian photographer James Elliot (1833–?) recreated and
expanded the painting’s scene in three dimensional photography.
Both Landseer’s original and Elliot’s stereographic representation
were displayed alongside each other in the exhibition.
Painting with Light was on display at Tate Britain,
11 May – 25 September 2016
Charles Landseer The Plundering
of Basing House exhibited 1836.
Bequeathed by Jacob Bell 1859.
Painting conservation supported
by Tate Patrons 2016.
Photo: Joe Humphrys © Tate
62
Detail during varnish removal,
March 2016
63
THANK YOU
THANK YOU FOR YOU R SU PP ORT
Your commitment to Tate is vitally important and we are
very grateful to everyone who supported us as a Patron
throughout 2015–16. Thank you for your generosity.
The below key indicates how long each individual has
continuously supported Tate as a Patron.
* 0–5 years
+ 6–10 years
^ 10+ years
P L AT I N U M
66
+ Ghazwa Mayassi
Abu-Suud
* Maria Adonyeva
^ Mr Shane Akeroyd
* Basil Alkazzi
+ Ryan Allen and
Caleb Kramer
+ Celia and Edward
Atkin, CBE
* Raphael Auerbach
and Suzanei Archer,
Palmarium Art AG
* Alex Beard
^ Beecroft Charitable Trust
* Jacques Boissonnas
* Natalia Bondarenko
+ Rory and Elizabeth Brooks
+ The Lord Browne of
Madingley, FRS, FREng
* Karen Cawthorn Argenio
* Mr Stephane Custot
* Pascale Decaux
+ Sophie Diedrichs-Cox
* Elizabeth Esteve
+ Mr David Fitzsimons
^ The Flow Foundation
^ Edwin Fox Foundation
* Mrs Lisa Garrison
* David Giampaolo,
Pi Capital
+ Hugh Gibson
* Alexis and Anne-Marie
Habib
+ Mr and Mrs Yan Huo
* Mr Phillip Hylander
^ Mrs Gabrielle
Jungels-Winkler
^ Maria and Peter Kellner
^ Mr and Mrs Eskandar
Maleki
* Luigi Mazzoleni
+ Scott and Suling Mead
* Pierre Tollis and
Alexandra Mollof
^ Mr Donald Moore
^ Mary Moore
* Ife Obdeijn
* Idan and Batia Ofer
* Anthony and Jacqueline
Orsatelli
* Hussam Otaibi
+ Simon and Midge Palley
(Chair)
+ Mr and Mrs Paul Phillips
* Mr Gilberto and
Mrs Daniela Pozzi
* Frances Reynolds
+ Simon and Virginia
Robertson
+ Mr and Mrs Richard Rose
+ Jake and Hélène Marie
Shafran
* Andrée Shore
+ Maria and Malek Sukkar
+ Michael and Jane Wilson
* Lady Wolfson of
Marylebone
* Chizuko Yoshida
^ Poju Zabludowicz and
Anita Zabludowicz, OBE
and those who wish to
remain anonymous
GOLD
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Eric Abraham
Fahad Alrashid
Shoshana Bloch
Elena Bowes
Louise and
Charlie Bracken
Nicolò Cardi
Matt Carey-Williams
and Donnie Roark
Melanie Clore
Beth and Michele Colocci
Harry G. David
Ms Miel de Botton
Mr Frank Destribats
Mrs Maryam Eisler
Ms Nathalie Guiot
Philipp Humm
Ms Natascha Jakobs
Tiina Lee
Fiona Mactaggart
Paul and Alison Myners
Reem Nassar
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Jan-Christoph Peters
Marie-Laure Prévost
Mathew Prichard
Valerie Rademacher
Luciana Rique
Almine Ruiz-Picasso
Ralph Segreti
Carol Sellars
Mr and Mrs Stanley S.
Tollman
Victoria Tollman O'Hana
Nicholas Wingfield Digby
Manuela and Iwan Wirth
Barbara Yerolemou
Meng Zhou
and those who wish to
remain anonymous
Previous page:
Patrons viewing Frank Auerbach
ahead of a lunch at Tate Britain
Photo: Oli Cowling © Tate
Patrons enjoy a curator-led tour
of Performing for the Camera
Photo: Lucy Dawkins © Tate
67
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68
Allahyar Afshar
Sharis Alexandrian
Mrs Malgosia Alterman
The Anson Charitable
Trust
Toby and Kate Anstruther
Mr and Mrs Zeev Aram
Mrs Charlotte Artus
Ms Alexandra Aslaksen
Aspect Charitable Trust
Tim Attias
Trevor Barden
Peter Barham
Mrs Jane Barker
Oliver Barker
Mr Edward Barlow
Victoria Barnsley, OBE
Jim Bartos
Mr Harold Berg
Lady Angela Bernstein
Ms Anne Berthoud
Madeleine Bessborough
Ms Karen Bizon
Janice Blackburn
David Blood and Beth
Bisso
Bruno Boesch
Mrs Sofia Bogolyubov
Laurel Bonnyman
Mr Brian Boylan
Ivor Braka
Viscountess Bridgeman
The Broere Charitable
Foundation
Mr Dan Brooke
Ben and Louisa Brown
Beverley Buckingham
Michael Burrell
Mrs Marlene Burston
Mrs Aisha Cahn
Sarah Caplin
Timothy and Elizabeth
Capon
Mr Francis Carnwath and
Ms Caroline Wiseman
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Sir Roger Carr
Countess Castle Stewart
Roger Cazalet
Lord and Lady Charles
Cecil
Dr Peter Chocian
Frank Cohen
Mrs Jane Collins
Dr Judith Collins
Terrence Collis
Mr and Mrs Oliver Colman
Carole and Neville Conrad
Giles and Sonia
Coode-Adams
Cynthia Corbett
Mark and Cathy Corbett
Tommaso Corvi-Mora
Mr and Mrs Bertrand
Coste
Kathleen Crook and
James Penturn
Mr Dónall Curtin
James Curtis
Daniella Luxembourg Art
Sir Howard Davies
Sir Roger and Lady
De Haan
Giles de la Mare
Mr Damon and The Hon
Mrs de Laszlo
Anne Chantal Defay
Sheridan
Marco di Cesaria
Michael Donovan
Joan Edlis
Lord and Lady Egremont
Sara Ellis
John Erle-Drax
Dr Nigel Evans
Stuart and Margaret Evans
Eykyn Maclean LLC
Mrs Heather Farrar
David Fawkes
Mrs Margy Fenwick
Mr Bryan Ferry, CBE
The Sylvie Fleming
Collection
* Lt Commander Paul
Fletcher
* Katherine Francey Stables
^ Stephen Friedman
* Mala Gaonkar
* Mrs Joanna Gemes
^ Geoffrey and Julian
Charitable Trust
^ Mr Mark Glatman
* Ms Emily Goldner and
Mr Michael Humphries
* Emma Goltz
* Aphrodite Gonou
* Kate Gordon
* Dimitri Goulandris
* Mina Gouran
^ Penelope Govett
* Svitlana Granovska
* Judith and Richard Greer
^ Martyn Gregory
^ Mrs Kate Grimond
^ Richard and Odile Grogan
* John Howard Gruzelier
* Mrs Helene Guerin-Llamas
* Jill Hackel Zarzycki
^ Louise Hallett
* Diane Hamilton
* Arthur Hanna
* Mark Harris
^ Michael and Morven
Heller
* Muriel Hoffner
+ James Holland-Hibbert
^ Lady Hollick, OBE
* Holtermann Fine Art
* Jeff Horne
^ John Huntingford
* Maxine Isaacs
* Helen Janecek
* Sarah Jennings
+ Mr Haydn John
^ Mr Michael Johnson
* Mike Jones
^ Jay Jopling
^ Mrs Brenda Josephs
+ Tracey Josephs
+ Ms Melek Huma Kabakci
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Andrew Kalman
Ghislaine Kane
Ivan Katzen
Dr Martin Kenig
Mr David Ker
Mr and Mrs Simon
Keswick
Richard and Helen Keys
Sadru Kheraj
Mrs Mae Khouri
David Killick
Mr and Mrs James
Kirkman
Brian and Lesley Knox
David P Korn
Tatiana Kovylina
Kowitz Trust
Mr and Mrs Herbert
Kretzmer
Linda Lakhdhir
Ms Anna Lapshina
Simon Lee
Mr Gerald Levin
Leonard Lewis
Sophia and Mark
Lewisohn
Mr Gilbert Lloyd
George Loudon
Mrs Elizabeth Louis
Mark and Liza Loveday
Catherine Lovell
Jeff Lowe
Alison Loyd
Mrs Ailsa Macalister
Kate MacGarry
Anthony Mackintosh
Sir John Mactaggart
Mrs Jane Maitland
Hudson
Lord and Lady Marks
Marsh Christian Trust
Ms Fiona Mellish
Mrs R W P Mellish
Professor Rob Melville
Mr Alfred Mignano
Victoria Miro
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Lulette Monbiot
Mrs Bona Montagu
Giuseppe Morra
Mrs William Morrison
Ms Deborah Norton
Julian Opie
Pilar Ordovás
Sayumi Otake
Desmond Page
Maureen Paley
Dominic Palfreyman
Michael Palin
Mrs Adelaida Palm
Mathieu Paris
Mrs Véronique Parke
Frans Pettinga
Trevor Pickett
Frederique Pierre-Pierre
Mr Alexander Platon
Penelope Powell
Mr Oliver Prenn
Susan Prevezer QC
Mr and Mrs Ryan Prince
James Pyner
Ivetta Rabinovich
Patricia Ranken
Bernadette Rankine
Mrs Phyllis Rapp
The Reuben Foundation
Lady Ritblat
Ms Chao Roberts
David Rocklin
Frankie Rossi
Mr David V Rouch
Mr James Roundell
Mr Charles Roxburgh
Naomi Russell
Mr Alex Sainsbury and
Ms Elinor Jansz
Mr Richard Saltoun
Mrs Cecilia Scarpa
Cherrill and Ian Scheer
Sylvia Scheuer
Mrs Cara Schulze
Hakon Runer and
Ulrike Schwarz-Runer
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The Hon Richard Sharp
Neville Shulman, CBE
Ms Julia Simmonds
Simon C Dickinson Ltd
Paul and Marcia Soldatos
Mr Vagn Sørensen
Louise Spence
Mr Nicos Steratzias
Ayse Suleyman
Mrs Patricia Swannell
Mr James Swartz
The Lady Juliet Tadgell
Isadora Tharin
Elaine Thomas
Anthony Thornton
Mr Henry Tinsley
Ian Tollett
Karen Townshend
Monica Tross
Andrew Tseng
Silja Turville
Melissa Ulfane
Mrs Jolana Vainio and
Dr Petri Vainio
Nazy Vassegh
Mrs Cecilia Versteegh
Gisela von Sanden
Andreas Vourecas-Petalas
Audrey Wallrock
Sam Walsh AO
Stephen and Linda
Waterhouse
Offer Waterman
Miss Cheyenne Westphal
Mr David Wood
Mr Douglas Woolf
Rosemary Yablon
and those who wish to
remain anonymous
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YO U N G
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Mr Alireza Abrishamchi
Roxanne Alaghband
Miss Noor Al-Rahim
HRH Princess Alia
Al-Senussi (Chair,
Young Patrons
Ambassador Group)
Miss Sharifa Alsudairi
Miss Katharine Arnold
Miss Joy Asfar
Ms Mila Askarova
Lucy Attwood
Miss Olivia Aubry
Daniel Axmer
Katrina Beechey
Penny Johanna Beer
Sarah Bejerano
Nathalie Berger
Liddy Berman
Athena Bersimis
Dr Maya Beyhan
Poppy Boadle
Roberto Boghossian
Georgina Borthwick
Ms Blair Brooks
Johan Bryssinck
Miss Verena Butt
Jamie Byrom
Mr Tommaso Calabro
The Hon Nicholas
Campbell
Alexandre Carel
Francesca Castelli
Federico Martin Castro
Debernardi
Alexandra and Kabir
Chhatwani
Yoojin Choi
Arthur Chow
Aidan Christofferson
Bianca Chu
Zuzanna Ciolek
Adam Clay
Niamh Coghlan
Caroline Cole
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Tamara Corm
Tara Wilson Craig
Eleonore Cukierman
Sadrine Currimjee
Debacker
Sonata Dallison
Mr Theo Danjuma
Henry Danowski
Mr Joshua Davis
Ms Lora de Felice
Countess Charlotte
de la Rochefoucauld
Giacomo De Notariis
Agnes de Royere
Sue Deveci
Suzana Diamond
Mira Dimitrova
Guillaume Duval
Indira Dyussebayeva
Alexandra Economou
Miss Roxanna Farboud
Anaïs Ferrier
Ottavia Fontana
Jane and Richard Found
Laurie Frey
Magdalena Gabriel
Mr Andreas Gegner
Lana Ghandour
Nicolas Gitton
David Green
Lise Grendene
Judith Greve
Antonella Grevers
Georgia Griffiths
Lydia Guett
Alex Haidas
Angus Haldane and
Emily de Vismes
Haldane
Jurg Haller
Ms Michelle Harari
Sara Harrison
Allison Hastings
Max Edouard Friedrich
Hetzler
Sidney J Hiscox
Caroline Hoffman
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Andrew Honan
Simona Houldsworth
Hus Gallery
Kamel Jaber
Sophie Kainradl
Miss Meruyert Kaliyeva
Mrs Vasilisa Kameneva
Seda Karpukhina
Miss Tamila Kerimova
Zena Aliya Khan
Robert Kidd
Ms Chloe Kinsman
Sadie Kirshman
Berrak Kocaoglu
Ellie Konstantilieri
Anastasia Koreleva
Maria Korolevskaya
Stephen Kovalcik
Mr Jimmy Lahoud
Isabella Lauder-Frost
Miss MC Llamas
Leo Loebenberg
Guy Loffler
Alex Logsdail
Wei-Lyn Loh
Lindsey Love
Yi Luo and Xi Liu
Yusuf Macun
Frederic Maillard
Ms Sonia Mak
Dr Christina Makris
Mr Jean-David Malat
Kamiar Maleki
Daria Manganelli
Zoe Marden
Lali Marganiya
Ignacio Marinho
Alexis Martinez
Krzysztof Maruszewski
Ian Massie
Dr F Mattison Thompson
Miss Charlotte Maxwell
Charles-Henri McDermott
Fiona McGovern
Mary McNicholas
Amanda Mead
Chelsea Menzies
* Miss Nina Moaddel
+ Mr Fernando Moncho
Lobo
+ Erin Morris
* Joseph Nahmad
* Natasha Norman
* Ikenna Obiekwe
* Heline Odqvist
* Aurore Ogden
* Berkay Oncel
* Periklis Panagopoulos
* Christine Chungwon Park
* William Pelham
* Anna Pennink
* Alexander V. Petalas
* Robert Phillips
* Mr Mark Piolet
* Megan Piper
* Courtney Plummer
* Maria-Theresia Pongracz
* Victoria Poniatowski
* Asta Ramonaite
* Yonatan Raz-Fridman
* Mr Eugenio
Re Rebaudengo
* Jordana Reuben
* Elise Roberts
* Louisa Robertson
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Tarka Russell
Katharina Sailer
Nour Saleh
Umair Sami
Miss Tatiana Sapegina
Paola Saracino Fendi
Natasha Maria Sareen
Rebekka Schaefer
Rachel Schaefer
Franz Schwarz
Mr Richard Scott
Count Indoo Sella
Di Monteluce
Jelena Seng
Cordelia Shackleton
Robert Sheffield
Eric Shen
Henrietta Shields
MinJoo Shin
Ms Marie-Anya Shriro
Jag Singh
Tammy Smulders
Dominic Stolerman
Dr Kafui Tay
Soren S K Tholstrup
Omer Tiroche
Simon Tovey
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Mr Philippos Tsangrides
Ms Navann Ty
Celine Valligny
Mr Lawrence Van Hagen
Dee Walsh
Alexandra Warder
Ryan Wells
Ewa Wilczynski
Elizabeth Wilks
Kim Williams
Kate Wong
Alexandra Wood
Edward Woodcock
Tyler Woolcott
Vanessa Wurm
Jian Xu
Reza Yazdi
Eirian Yem
Jing Yu
Miss Burcu Yuksel
Daniel Zarchan
Sharon Zhu
Marcelo Osvaldo Zimmler
and those who wish to
remain anonymous
71
TATE PATRONS
E XECU TIVE COMMIT TEE
YOU NG PATRONS
A MBA SSADOR GROU P
Acting as an important guiding group on behalf of the Patrons
as well as important ambassadors for the scheme, the Patrons
Executive Committee meet four times a year, allocating Patrons’
funds towards a range of key acquisitions, exhibitions and projects,
in line with the diverse interests of the Patrons. We thank them for
their time, contribution and commitment over the last year.
Meeting four times a year to discuss the interests, strategy
and events programme for the Young Patrons, the Young Patrons
Ambassador Group act as key advocates, helping like-minded
young individuals join the scheme and share their support of
Tate and contemporary art. We are very grateful for their support
and commitment towards the Young Patrons programme.
Ghazwa Mayassi Abu-Suud
Ryan Allen
HRH Princess Alia Al-Senussi
Jim Bartos
Katherine Francey Stables
Kate Gordon
Jill Hackel Zarzycki
Suling Mead
Midge Palley (Chair)
Valerie Rademacher
Alex Sainsbury
HRH Princess Alia Al-Senussi (Chair)
Federico Martin Castro Debernardi
Bianca Chu
Aurore Ogden
Alexander V. Petalas
Eugenio Re Rebaudengo
Indoo Sella Di Monteluce
Rob Sheffield
Navann Ty
Previous page:
Patrons hear from David Brown, Curator, British Art,
1790–1850, on a curator-led tour of Artist and Empire.
Photo: Oli Cowling © Tate
72
Midge Palley (Chair) addresses the group at a curator-led
tour of Barbara Hepworth: Sculpture for a Modern World
Photo: Olivia Hemingway © Tate
Chris Dercon, Director Emeritus, Tate Modern, and Young
Patron Ambassadors HRH Princess Alia Al-Senussi and
Count Indoo Sella Di Monteluce address the Young Patrons
at the 2015 Young Patrons Party. Photo: © Ben Fisher
73
TATE PATRONS STAFF
Anne-Claude d’Argent
Head of Patrons
Rossanne Pellegrino
Patrons Senior Manager
Heather Sturdy
Patrons Senior Manager
(maternity cover)
Caroline Hussey-Bain
Patrons Manager
Katrien van de Linde
Patrons Manager
Ruby Amber Green
Patrons Events Manager
Jonathan Howe
Patrons Officer
Lucy Furneaux
Patrons Administrator
CONTAC T IN FORM ATION
Patrons Office
Tate
Millbank
London
SW1P 4RG
Call +44 (0)20 7887 8743
Fax +44 (0)20 7887 8090
Email [email protected]
Visit tate.org.uk/join-support/tate-patrons
74