Tate Patrons Report
2011 – 12
Tate Patrons Report
2011–12
Contents
Cerith Wyn Evans
‘Astrophotography . . . The Traditional Measure of Photographic
Speed in Astronomy . . .’ by Siegfried Marx (1987) 2006
© Cerith Wyn Evans
Courtesy White Cube, London
Director’s Introduction
Chairman’s address
Artworks you purchased
Exhibitions you helped stage How you helped others enjoy Tate Future research you have supported Review of the year 2011–12
Thank you
Young Patrons
Patrons Executive Committee
Young Patrons Ambassador Group Contact us 3
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Director’s
introduction
This report is a testament to the continuing
commitment and generosity of the Tate Patrons.
Over the past year, your support has allowed us to
develop areas of activity that are essential to the
mission of Tate. Your generous contributions have
helped us to acquire works of art for the collection,
stage a diverse and ambitious programme of
exhibitions and ensure access for all through our
innovative learning programmes.
In a year where many eyes will be looking to
London during the Olympics and Cultural Olympiad,
Tate continues to set new challenges for itself.
Your generosity has secured 10 works for the
collection including Adam de Colone’s Portrait of Lady
Margaret Livingstone, 2nd Countess of Wigtown, Pawel
Althamer’s Monika and Pawel, as well as Pedro Cabrita
Reis’s Limbo. It has also helped us to present the work
of major artists such as Alighiero Boetti, a key figure
in arte povera and a model for many younger artists.
Your contribution to the conservation and cataloguing
of the Duncan Grant archive will make it a source of
learning for future generations.
Our vision for Tate is an ambitious one, and we rely
more and more on the generosity of our individual
donors. Your commitment and enthusiasm allows
Tate to grow and prosper, bringing art to millions
of people each year.
Thank you.
Sir Nicholas Serota
Director, Tate
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Chairman’s
address
In my first year as Chairman, I have been struck by
the generosity and commitment of the Patrons and
would like to thank you for welcoming me so warmly
as Chairman of the group. It is your enthusiasm and
support, alongside the commitment of the curators
and artists that make being a Patron such an
enjoyable experience.
The essence of Tate Patronage is to support Tate in
its endeavour to enrich people’s lives through their
encounter with art. I hope that you enjoy reading
this report, and the details of the works and projects
that we have supported, and feel a sense of pride
at how your contribution has helped sustain and
develop so many aspects of Tate’s work that
collectively make it one of the most exciting arts
organisations in the world.
The Patrons continue to enjoy an ever-evolving
programme of seasonal events, enhanced this year
by our involvement with Plus Tate partners around
the country which included Hepworth Wakefield and
Turner Contemporary in Margate where we had the
satisfaction of seeing works from the Tate collection
on loan for a wider public to enjoy. We were
welcomed to the studios of Ryan Gander, Steven
Claydon and Turner Prize winner, Martin Boyce.
Inside the galleries we benefited from the insight of
Tate’s curators as well as that of artists such as Jeremy
Deller and Michael Craig-Martin. We are grateful to
those Patrons who opened their homes to us to share
their personal collections.
Our trips to Boughton House and Hatfield House were
particularly memorable due to the forethought and
planning by Karen Hearn, Curator of 16th and 17th
century British Art, who will be leaving Tate after
fifteen years. In addition to the number of exceptional
exhibitions and displays that Karen has curated at
Tate Britain, she has made an extraordinary
contribution to the Patrons historic programme over
the years. I know you will join me in thanking Karen
for all her support. She will be very much missed.
I would also like to extend my thanks to Lauren
Prakke, founder of the Young Patrons scheme, who
will be ending her tenure as Chair of the Young
Patrons Ambassador group after five years in June.
Lauren’s drive and enthusiasm has given rise to a
lively and dynamic group of Tate philanthropists who,
as a credit to her foresight and hard work, now boast
120 in number. We look forward to working with the
new Chair of the Young Patrons Ambassadors who will
be announced over the summer.
On behalf of myself and the Executive Committee,
thank you once again for your continued support of
Tate and I look forward to sharing with you many
more outstanding years.
Elizabeth Brooks
Chairman, Tate Patrons
Artworks you helped purchase
Patrons Executive Committee meeting for the selection
of Patron acquisitions
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Monika and Pawel 2002
Pawel Althamer
Born 1967
The Artist Pawel Althamer is a key figure in the current
contemporary art scene, not only within his native
Poland and Eastern Europe, but also across the
broader international arena. Working with sculpture,
film and performance since the early 1990s, Althamer
has developed a participatory mode of art, generating
distinct bodies of work as well as diverse and unique
social experiences for his audiences. He is interested
in the transformative potential of art and in helping
people reflect their own creativity. In the past he
has held weekly sculpture workshops for sufferers
of multiple sclerosis, orchestrated large-scale group
performances, and enlisted schoolchildren to take
part in his exhibitions.
The Work Althamer first began to make figurative works
while he was still a student at the Academy of Fine
Arts in Warsaw and these sculptures have typically
been self-portraits or portraits of family members.
Monika and Pawel is a freestanding sculpture with
two figures standing on parquet flooring; the title
of the work identifies the figures as the artist and
his first wife. The sculpture is formed from bunches
of straw, shaped according to muscular anatomy and
covered with animal intestines to represent lifelike
skin. Real hair is also used, giving the figures an
unnerving, visceral feel. The couple can be seen to
evoke the tradition of Adam and Eve, similarly facing
temptation, though not by the apple but by the
technological future. They seem immersed in the
gadgets they are holding – including a video camera
and mobile phone – which adds to the work’s
resonant play between the past and the future.
There are currently four works by Althamer in
the Tate collection, including his famous Self-Portrait
as a Businessman 2002, which saw the artist dressing
as a businessman before abandoning his clothes,
which were left to remain as the sculptural residue of
the performance.
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Pawel Althamer
Monika and Pawel 2004
Animal intestines, hair, grass, straw,
hemp fibres, metal, fragment of
wooden floor, video camera, mobile
phone and wrist watch
1992 x 1184 x 844 mm
© Pawel Althamer
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Portrait of Lady
Margaret Livingstone,
2nd Countess of
Wigtown 1625
Adam de Colone
born c.1572
The Artist Adam de Colone was a Dutch-Scottish portrait
painter who is believed to have been born in Antwerp
in around 1572. Details of the life and career of this
little-known artist have only recently come to light
due to new scholarly research and archival discoveries
about his family. It is believed that De Colone was
active in Rotterdam and Dordrecht until 1622, when
he moved to Scotland. He worked as a court painter
for King James VI and I, as well as many of the
leading members of the Scottish nobility and
their families.
The Work This powerful portrait depicts the young daughter
of the Earl of Linlithgow, Lady Margaret. De Colone
also painted her husband John Fleming, Earl of
Wigtown, as a companion portrait in the same year.
The Countess is shown as commanding not just
in her expression but also in the display of her
expensive and fashionable possessions. Her black
and lace attire indicates her wealth and high status
and there are a number of symbols that also suggest
this as a marriage-related portrait. The large diamond
ring tucked into her bodice can be understood to be
a luxurious gift from her husband and the use of a
red carnation – a symbol of fidelity – is common in
northern European matrimonial painting. De Colone
often inscribed his paintings in the upper left corner,
as he did both here and on the companion portrait.
The writings indicate that Lady Margaret was 30 and
her husband was 36 when they sat for these portraits.
De Colone’s style is recognisable and extremely
distinctive and so although his surviving work is rare
(only around 30 paintings are known) and often
unsigned, his authorship is always evident.
The acquisition of this work is the first by De Colone,
and is an excellent example of early Scottish portraiture.
This work will be an invaluable addition to Tate’s
collection of both British portraits and court painters.
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Adam de Colone
Portrait of Lady Margaret Livingstone,
2nd Countess of Wigtown 1625
Oil on canvas
1143 x 848 mm
Image courtesy of The Fine Art Society
11
Performance Still 1985,
printed 1995
Mona Hatoum
born 1952
The Artist Born in Beirut to a Palestinian family, Mona Hatoum
came to Britain as a student in the mid-1970s and
finally settled in London in 1975, after civil war
in Lebanon made the thought of returning home
impossible. Short listed for the Turner Prize in 1995,
Hatoum’s work is underpinned by themes of violence,
universal conflict, oppression and voyeurism as well
as the juxtaposition of conflictive opposites such as
beauty and horror, desire and revulsion. Until 1988
she worked mainly with video and performance,
exploring the human body, her background and
the political situation in Palestine. Since then she
has removed the focus of attention from her as the
performer and concentrated on making installations
which create an interactivity with the spectator,
allowing them to be involved in the aesthetic
experience without the presence of the artist.
The Work Performance Still is a black and white photograph
which records one of three street performances
which Hatoum undertook for the Roadworks exhibition
organised in 1985 by the Brixton Artists Collective.
The photograph shows the artist’s lower body,
barefoot on the street and wearing a pair of rolled-up
workman’s overalls, with a pair of black boots tied
to her ankles dragging along behind her. The boots
are Dr Martens, traditionally worn by both the police
and skinheads, and the action took place in Brixton,
a predominantly black, working-class area, which was
the scene of a number of racial clashes in the 1980s.
Hatoum undertook some 35 performances between
1980 and 1988, each carrying a set of complex
meanings and associations, designed to engage the
viewer emotionally, psychologically and physically
with her work. First performed on 21 May 1985,
Performance Still was printed and published 10 years
later and can be interpreted as an early example of
Hatoum’s reflection on her personal history and sense
of displacement or ‘exile’.
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Mona Hatoum
Performance Still 1985, printed 1995
Black and white photograph,
mounted on aluminium
765 x 108 mm
Number 2 in an edition of 15
© Mona Hatoum
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Untitled 2010
Simon Ling
born 1968
The Artist Following his studies at Chelsea College of Art
and Design and the Slade during the 1980s and
1990s, Simon Ling has developed a substantial
body of work which is centred upon a consistent
line of enquiry, often examining man’s relationship
with the environment. Like other painters of his
generation, such as Tomma Abts and Glenn Brown,
Ling’s work reflects and exploits a tension between
the represented image and its material construction
through paint. Ling paints both en plein air, where
his subject is found in areas of nondescript urban or
rural wasteland, and in the studio from constructed
tableaux. Despite the diverse nature of his subject
matter, his approach is always the same and attempts
to give form to an experience of the subject, rather
than producing an accurate likeness.
The Work Untitled is one of a series of oil on canvas paintings
made en plein air, in the Herefordshire countryside.
It features a close-up view of a group of concrete
foundations, extracted from the earth and overgrown
with patches of moss and grass. The downward angle
of the composition and peculiar cropping of the
image confuse the sense of scale, giving the concrete
foundations a monumental quality. A bright yellow
patch of lichen in the centre of the composition
appears to have been applied directly from the tube
and blades of grass in the foreground are indicated
through single gestural strokes. Ling consistently
depicts ‘non-places’ in his outdoor works in order to
slow the viewer’s recognition of the subject, creating
an artificial nature in which man-made rocks are
overgrown, and reclaimed, by plant life. Drawing
out the anthropomorphic qualities of the chunks of
concrete, he paints them nestled together like a family
group, as if he is willing them to come to life.
Not currently represented in the Tate collection,
Untitled is representative of Ling’s approaches
to painting, and its addition will enhance Tate’s
collection of recent British painting, reinforcing its
commitment to this area of practice.
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Simon Ling
Untitled 2010
Oil on Canvas
1220 x 910 mm
Image courtesy greengrassi, London
Photo: Marcus Leith
15
I See a Darkness 2008
Susan Philipsz
born 1965
The Artist Susan Philipsz was born in Glasgow and currently
lives and works in Berlin. In her youth, she sang
with her sisters in a Catholic church choir, and
this has had a pertinent influence on her artistic
methods. Originally a sculptor, she is best known
for her works with sound, often using her own voice
to create evocative installations that explore the
relationship between sound and architecture. Her
work stems from an interest in how sound defines
architectural space and, more specifically, how the
emotive and psychological properties of sound
can alter our experiences of different spaces. Since
winning the Turner Prize in 2010, Philipsz has gained
a considerable international reputation, exhibiting
extensively in the UK and abroad.
The Work I See a Darkness, a sound installation which extends
over two gallery spaces, is a piece which lasts
seven minutes and thirty seconds, and is played on
continuous loop. Illuminated only by small lights on
the floor which cast shadows on the walls, the sound
comprises seven speakers positioned on white plinths.
Six are in the main space while one stands alone in
a smaller adjacent room. Combining three different
songs, it begins with Philipsz’s a cappella rendition
of the 1999 song I See a Darkness by the American
singer and songwriter Will Oldham, which gives the
installation its name. Sung as a call and response
duet, the song is split between two channels giving
the sense that they are calling out for each other
across the space. Following this, an early piano piece
by the French composer Maurice Ravel, Pavane for a
Dead Princess 1899, directs the viewer through the
darkness and finishes with Philipsz’s interpretation of
the 19th century Neapolitan barcarolle, Santa Lucia,
which emanates from four separate speakers situated
in the centre of the main gallery space.
I See a Darkness will be the first work by Philipsz to be
acquired by Tate, enhancing our collection of sound
installation works.
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Susan Phillipsz
I See a Darkness 2008
Five channel sound installation
7 minutes and 32 seconds, looped
Number 2 in an edition of 3
Courtesy the artist and Tanya
Bonakdar Gallery, New York
Photo: Jean Vong
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Limbo 1990,
re-fabricated 2009
Pedro Cabrita Reis
born 1956
The Artist Pedro Cabrita Reis is one of Portugal’s best known
contemporary artists renowned for creating
installations centred upon architectural themes, and
for his use of industrial materials which highlight the
process of construction. The works are often presented
in a way that can seem provisional or unfinished,
leaving the viewer unsure as to whether they are
completed artworks. Having started his career as a
painter, Cabrita Reis continues to see his work as an
extension of painting and prefers to be understood
and classified as a painter rather than a sculptor.
The Work Sculpted from wood and plaster, Limbo represents
an aqueduct or waterway that appears to be halfway
through its construction; the title refers to a semi
state between two places. The connections between
the panels of wood and the nails used to hold them
together are still visible, giving the impression that
the sculpture could be an architectural prototype.
The formal properties of the work highlight the
artist’s simultaneous exploration of both sculpture
and architecture. By reinterpreting and reducing
an architectural structure such as an aqueduct to a
minimal sculpture, Cabrita Reis positions the work
within the trajectory of arte povera, minimalism and
postmodernist sculptural practice. The work belongs
to a series that Cabrita Reis began to produce in the
1990s, comprising fountains, canals and aqueducts.
This body of work can be characterised as large in
scale, stark white and minimal in appearance. Works
such as Limbo explore the occupation of space by the
artwork and the viewer, physically demanding space
in the gallery whilst also requiring time in order to
fully experience and understand them.
Limbo forms a series of four works; the others were
anonymously gifted to Tate and are currently on
display at Tate Modern. Shown in a solo display, or
alongside the work of artists such as Robert Morris
and Richard Serra, they are significant in reflecting his
artistic practice.
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Pedro Cabrita Reis
Limbo 1990, re-fabricated 2009
Wood and plaster
720 x 4490 x 2060 mm
© Pedro Cabrita Reis
19
Has the film already
started? 2000
Cerith Wyn Evans
born 1958
The Artist Having completed his studies at the Royal College
of Art in 1984, Cerith Wyn Evans went on to work
as an assistant to the English film director Derek
Jarman whilst making short experimental films
himself. In the early 1990s he began producing
sculpture and installations; however, the influence
of film has continued to feature strongly within his
work. Incorporating a wide knowledge of literature,
philosophy, music and photography, he has produced
a unique and distinctive collection of works,
identifiable by their outward simplicity and elegance
which often disguise the intellectual subject matter
that inspired their creation.
The Work Has the film already started? is an installation
comprising of indoor pot plants, a large helium
balloon, a projected DVD and a CD. The image of
a white circle over a black background is projected
onto the suspended balloon with the resulting play of
light and shadow on the wall behind suggesting the
phenomenon of a solar eclipse taking place indoors.
In keeping with Wyn Evans’s practice of appropriation
and multiple layers, sources of inspiration are derived
from both film and literature. A 50-minute sound
‘diary’ also accompanies the piece and combines
the song Whisper Not by Art Blakey, the sound of
birds, and an interview with the Belgian artist Marcel
Broodthaers, who used similar palm trees in his
installations.
Cerith Wyn Evans
Has the film already started? 2000
DVD, CD, CD player, helium balloons,
brick, string and plants
Dimensions variable
© Cerith Wyn Evans
Courtesy White Cube, London
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Firework Text (Pasolini)
1999
‘Astrophotography . . .
The Traditional Measure
of Photographic Speed
in Astronomy . . .’
by Siegfried Marx (1987)
2006
Cerith Wyn Evans
born 1958
The Work Firework Text (Pasolini) consists of five framed colour
photographs that record the different stages of a
large stand of mounted fireworks burning on a beach
which, when lit, form a passage of text. Each stage
was photographed systematically so the quotes,
taken from Italian filmmaker Pier Paulo Pasolini’s film
Oedipus Rex 1967, are illuminated and can be read.
Murdered on 2 November 1975, Pasolini’s death
continues to remain a mystery. Using this as a source
of inspiration, Wyn Evans created this work on the
same beach in Ostia, near Rome, where Pasolini met
his fate. Acting as documentation of a performance,
the artist also made a film with the same title.
The Work ‘Astrophotography . . . The Traditional Measure
of Photographic Speed in Astronomy . . .’ by Siegfried
Marx (1987) consists of a crystal chandelier made from
Venetian glass and a computer monitor visibly
installed on the gallery wall. Wyn Evans has made
several chandeliers, of which this is an extremely
large example, describing them as ‘an overdetermined symbol of luxury, fantasy and grandeur’.
Produced in the same Venetian glassmakers as the
original eighteenth century version, the chandelier is a
faithful replica of one at the Palazzo Ca’ Rezzonico in
Venice. Suspended from the ceiling and regularly
illuminated by pulses of light which are generated
from texts rendered in Morse code, this work explores
language as a coded system from which meaning can
be extracted.
Cerith Wyn Evans
Firework Text (Pasolini) 1999
Five R-Type colour prints
Each 365 x 385 mm
© Cerith Wyn Evans
Courtesy White Cube, London
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Cerith Wyn Evans
‘Astrophotography . . .
The Traditional Measure
of Photographic Speed
in Astronomy . . .’ by Siegfried Marx
(1987) 2006
Chandelier, flat screen monitor,
morse code unit and computer
2600 x 2200 mm (chandelier)
© Cerith Wyn Evans
Courtesy White Cube, London
23
Descent 2002
Catherine Yass
born 1963
The Artist Catherine Yass was born in London in 1963 and
studied at the Slade, Hochschule der Künste and
Goldsmiths College. She designed Tate Britain’s
Christmas tree in 2000 and in 2002 was shortlisted
for the Turner Prize. Yass is known for her brightly
coloured, light box-mounted photographs, a number
of which juxtapose positive and negative light,
creating an unusual colour scheme. Having discovered
her signature technique when she accidentally
loaded her film camera the wrong way, this process
creates multiple colours in the photograph which
are said to present an intensified view of reality,
evoking psychological states and the unconscious.
Often focusing on empty interiors or architectural
structures, she produces uncanny images that capture
time and space with increased depth and specificity.
The Work At first, the film Descent appears to present footage
from a camera which is slowly moving up the side
of a half-built tower block shrouded in fog. Gradually
the fog dissipates and the structure of the building
becomes clearer. Windows from neighbouring office
blocks emerge from the mist, their muted colours
contributing to a sensation of being submerged deep
underwater. Eventually the viewer realises that what
they are seeing is upside down as the bottom of the
building and streets appear at the top of the screen
in a disorientating revelation. Yass made this work by
lowering a camera from a crane steadily down the full
length of a tower block under construction in Canary
Wharf. On the day of filming, an unexpected mist lent
a mesmeric quality to the footage that Yass enhanced
by screening the film in reverse. The imagery is
beautifully meditative and melancholic, allowing
the viewer to drift, as if falling, into an unfamiliar,
dreamlike landscape.
Descent featured in Yass’s Turner Prize exhibition
at Tate Britain. This is the first film by the artist
that Tate has acquired, adding to ten light box and
photography works. This work was acquired with
Patrons’ support in 2010-11 and accessioned in 2012.
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Catherine Yass
Descent 2002
16mm film transferred to DVD
8 mins, 11 second loop
Courtesy the artist and
Alison Jacques Gallery, London.
25
Exhibitions you
helped stage
Installation of Alighiero Boetti: Game Plan
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Alighiero Boetti:
Game Plan
Tate Modern
28 February –
27 May 2012
Alighiero Boetti is thought to be one of the most
important Italian artists of the 20th century.
Considered radical for his diverse use of materials,
his array of techniques included embroidery, drawing,
photocopying, printing, photography and construction,
and often involved collaboration with people both
inside and outside the art world. In favour of
adopting what were considered ‘low’ forms of
art, Boetti embraced the craft movement and was
fascinated with non-Western traditions and cultures.
It is this global vision that is epitomised in some
of his best-known work.
Q & A We go behind the scenes to look at the installation
of this vast exhibition supported by Tate Patrons,
and speak to curator of the show Mark Godfrey.
Alighiero Boetti has often been considered as a
key member in the development of the arte povera
movement – do you agree with this?
Actually I don’t really see Boetti as an arte povera
artist. He started showing his work before this term
was created, and pretty much abandoned the arte
povera aesthetic two years later. Labels are always
problematic, but particularly for Boetti. He had some
connections to conceptual art but really it makes
better sense to think of him away from these groups.
Many of the works in the show have come from
Europe, particularly Italy. How long does it take
to orchestrate a show like this and how do you
feel when it finally comes together?
I spent about five years researching Boetti’s work
before the preparations for the show began. Then
there was a two-year active period of selecting the
works. We visited Boetti’s family in Rome and Todi,
and saw many collectors across Italy. It was wonderful
to meet people who knew Boetti and who bought his
work in the 1960s and 70s. Seeing all the works come
together in the show is truly amazing, and you also
learn a lot while installing – for instance, about how
Boetti puts light and heavy substances together in a
witty and subtle way.
Installation of Alighiero Boetti:
Game Plan
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Boetti’s practice is so diverse and experimental.
Which aspect interests you the most and is there a
particular work in the show that encompasses this?
For me, a crucial work in the show is the pink Mappa
from 1979. Boetti’s maps are based on a schema:
each country is filled in with the design of its flag.
Boetti liked the idea that the borders and flags of the
countries existed already – he did not invent them.
This connects to his idea of mettere al mondo il mondo
– putting the world into the world. It means that
the artist does not invent or imagine, but uses what
already exists in the world to make their work. This
Mappa was embroidered in Afghanistan
and made by women whom Boetti could not meet
himself as their work was organised by a male
Afghan associate of his. Boetti often worked this way:
he came up with an idea, but the work was fabricated
by people he never met. This particular Mappa was
made the year before Afghanistan was invaded by the
Soviets; if you look at the area of Afghanistan, you
see that its flag has been replaced by the Farsi word
khalq, the name of the government then in charge.
This detail shows how he responded to the changing
politics of each country. I adore this work because the
oceans are pink: the embroiderers did not recognise
the image of the map and used whatever colour they
had plenty of. They are pink by chance, by accident
– but Boetti loved this and from then on encouraged
the embroiderers to use colours of their choice for the
seas. So this single work brings everything together:
Boetti’s love of chance and accident, the beauty and
colour of his work, its relationship to geo-politics, his
commitment to non-invention, and his approach to
having his works fabricated by other people.
Alighiero Boetti
Mappa 1994
© Alighiero Boetti Estate by DACS /
SIAE, 2012
Courtesy Fondazione Alighiero e Boetti
30
Installation of Alighiero Boetti:
Game Plan
31
Pre-Raphaelites:
Victorian Avant-Garde
Tate Britain
12 September 2012 – 13 January 2013
Comprising a group of English painters, poets and
critics, the Pre-Raphaelite Brotherhood has come
to symbolise Britain’s first modern art movement.
Their passion for rebellion and revivalism, combined
with precision and grandeur, placed them at the
forefront of the arts and therefore susceptible to both
high praise and fierce criticism. Aiming to address
their status as avant-garde artists, the Pre-Raphaelites
created a complex dilemma in continuing to embrace
the concepts of history painting and of mimesis,
whilst defining themselves as a contemporary artistic
reform movement.
Q & A We discuss Pre-Raphaelites: Victorian Avant-Garde
with curator of the show Alison Smith
The Pre-Raphaelites are often seen as sentimental
or mere Victoriana. Has it been difficult to venture
beyond this standard narrative and show them as
radical and avant-garde?
Pre-Raphaelite paintings still have the power
to shock and surprise today on account of their
unflinching realism, brilliant colour and complete
disregard for traditional ways of organising elements
within a composition. The subjects the artists
chose to represent, whether scenes from the past
or topical subjects from contemporary life such as
emigration and poverty, were aimed at displaying
the full range of human emotions in order to
engage and to challenge audience preconceptions.
The art of the Pre-Raphaelites certainly has an
emotional appeal but that should not lead us to
dismiss it as sentimentality, as that would overlook
just how daring and unconventional it was at
the time and why it continues to bewilder and
fascinate us today.
Dante Gabriel Rossetti
Astarte Syriaca 1877
© Manchester Art Gallery
32
33
The exhibition presents painting, sculpture,
photography and the applied arts. Why was it
important for you to bring together the lesser
known mediums that the Pre-Raphaelites used?
One of the aims of the exhibition is to show how the
Pre-Raphaelites were radical in their approach to all
the subjects they tackled, as well as the materials
they employed in their works. Their paintings
often present an equality of focus in keeping with
photographic vision. Some of the ‘aesthetic’ pictures
associated with the later phase of the movement
appear as if they have been embroidered with paint
referring to the qualities of tapestry. In order to show
how the Pre-Raphaelites sought to collapse traditional
distinctions between media, we have decided to
combine works produced in different materials in the
various thematic spaces of the exhibition. This allows
us to foreground the idea that Pre-Raphaelitism was
a collaborative enterprise aimed at permeating every
aspect of life.
Which one work in the exhibition is your
personal highlight?
It would be difficult for me to select one highlight,
but I am looking forward to seeing Holman Hunt’s
extraordinary psychedelic painting The Lady of Shalott
from the Wadsworth Atheneum in Hartford, which
has not been seen in this country since the Hunt
exhibition of 1951. This picture, with its vivid colour,
spatial ambiguity and psychological intensity of
movement and expression, will be the final work
in the exhibition. For me, it proves how the artists
who initiated the movement back in 1848 were still
producing highly innovative works at the turn of
the century.
William Holman Hunt
The Lady of Shalott c.1890-1905
Oil on canvas
The Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund, 1961
34
35
How you helped
others enjoy Tate
Touch Tour of the collection displays
36
37
Tate Britain Learning:
Schools Workshops
The Schools Workshops form a major part of
Tate’s learning programme, allowing students to
learn new skills and gain inspiration, taking away
with them fresh ideas to utilise in the classroom.
The programme is designed to extend and enhance
the school curriculum, whilst catering to students
of all abilities.
Designed and delivered by Tate’s Learning Team,
and a core group of artists, the Schools Workshop
Programme consists of approximately 220 gallerybased sessions at Tate Britain, catering to over 3,500
children aged four to 18 years old each year. They are
offered to schools throughout the United Kingdom,
free of charge, enabling access for all who want to
take part. Workshop sizes are kept small, with a
maximum of 16 students per session, to ensure a
safe and welcoming learning environment. Specialist
workshops are also offered for children with special
educational needs and make use of the collection
through the multi-sensory handling of objects and
other learning strategies.
Through your support, the programme has been
able to focus on higher profile artists delivering a
highly dynamic and varied programme which blends
their practice with Tate Britain’s collection displays.
Artists currently leading workshops include Mitra
Memarzia, who encourages a playful approach to art,
engaging the children with complex and layered
drawing activities fusing traditional drawing techniques
with new media. Each workshop varies according to
the artist’s particular approach but each one requires
the children to look, question, and formulate a
response to the artworks which they encounter.
‘The children want to listen to an expert and they
believe an expert. You also get another perspective to
the pieces. Many children are too literal when it comes
to art; explanations of the art help children unlock their
imagination.’ Deansfield Primary School
Children from St Anthony’s School
enjoying a schools workshop,
Tate Britain
38
Teenagers taking part in the Dialogue
and Dissent Project, Tate Britain
The benefits of workshops such as these are
invaluable; much of the feedback received reports
outcomes including increased confidence,
development of critical thinking skills and improved
self-expression. Crucially, what many take away with
them is not only an enhanced enjoyment of art, but
the beginning of their journey into a lifelong passion
for the arts. Inspiring children and teachers alike,
these dynamic workshops have something for
everyone to engage with and enjoy.
39
Tate Modern Learning:
Access Programme
Touch Tours There are a number of sculptures in the collection
displays which blind visitors can interact with during
a Touch Tour, including Umberto Boccioni’s Unique
Forms of Continuity in Space and Ernst Barlach’s The
Avenger. Using protective gloves, visitors are able to
feel the sculptures, exploring and interacting with
some of Tate’s most iconic artworks. As the collection
is so diverse, interpretive tours are also offered using
verbal description, as well as handling and feeling
objects, raised images and replicas to ensure the
attendees get the utmost out of their experience in
the gallery.
The Tate Modern Access programme offers visitors
the chance to experience the gallery in a way which
is purposefully tailored to their needs, enabling them
to enjoy the latest exhibitions and collection displays.
From working with disabled artists to our regular
participation in National Learning Disability Awareness
week, we are now working collaboratively with
other museums and galleries to improve access
nationally and internationally. Thanks to your support,
these are just some of the programmes which take
place throughout the year.
British Sign Language Although many deaf visitors like to attend gallery
and Lipspeaker talks events and talks that are delivered in British Sign
Language (BSL), a significant number don’t use BSL,
and prefer events to be delivered in spoken English
with the help of portable induction loops, Lipspeaker
interpreters and written notes. Tate now offers both.
To improve awareness within the gallery, the Access
team has also collaborated with Visitor Experience
to deliver some of the learning initiatives including
Touch Tours and deaf awareness training, so they are
better able to communicate with deaf visitors.
Visitors with The main challenge when enabling access for visitors
mobility impairment with mobility impairment is the ease of moving around
exhibitions when the galleries are busy. In response
to this, out of hours viewings have been programmed
around major exhibitions to ensure these visitors
enjoy some of our most groundbreaking exhibitions
including Gauguin, Miró and Gerhard Richter: Panorama.
Working with Through your generosity, Tate has been able
disabled artists to work with two artists who have drawn upon
the collection to explore issues of disability within
a wider cultural setting. Tanya Raabe created a
series of events titled Exploring Culture Head On
which looked for evidence of disability within the
collection displays, and explored these findings by
holding a series of public studio events during which
she invited well-known disabled people to tell their
life stories whilst being painted. A second artist,
Vince Laws, explored the idea of invisible disability
in his paintings and poetry performances which ran
parallel to Raabe’s work.
Touch Tour of the collection displays,
Tate Modern
40
41
Future research you
have supported
Selected materials from the Duncan Grant archive
42
43
Tate Archive
Duncan Grant
cataloguing
Q & A With the cataloguing taking place three days a
week, and a completion date of 2014, Archive
Curator Emily Down talks here about the scale of
this project
What does cataloguing involve and are there any
particular challenges you have faced?
Cataloguing is a slow process. The archive arrived
in good order, without any major conservation issues,
but there are always little challenges along the way
like deciphering signatures and working out dates.
Firstly I try to get a feel for how the material has
been kept in the past and why it has been kept in
this order – all of these aspects contribute to the
cataloguing process. I read the letters, describing who
they are from, when they were written and what they
are about. I also unfold them, remove rusty metal
clips and pins, and pack them in acid-free folders.
Bloomsbury’s role in shaping the development of
British modernism is considerable. Along with his
fellow members, Duncan Grant – painter, designer,
and key member of the group – brought modern
ideas to British art, with a flair for abstraction and
a very distinctive brand of post-impressionism.
Selected materials from the
Duncan Grant archive
44
Grant’s archive offers a snapshot of this prolific
artist’s life and includes correspondence to family,
friends and lovers, sketches, diaries, postcards,
press cuttings and personal items, all of which
were generously gifted by Henrietta Garnett, granddaughter of Grant and Vanessa Bell. The cataloguing
of the archive, supported by Tate Patrons, will ensure
that this rich source of material is readily available
to the public via Tate’s online resources, and will
ultimately prove invaluable to future research.
45
Tate Archive
Duncan Grant
cataloguing
What are your favourite aspects of working on a
project such as this, and do you feel a connection
with Duncan Grant?
Reading through 60 or more years of someone’s
correspondence, you come to feel that you know who
they were as a person, through the little daily details
of their lives, and how they changed over time. I love
the sense of interconnectedness – being so close to
the material enables you to see how everything links
together, and how it relates to other people’s archives
too. With Grant and his circle, I’m often struck by how
modern they were, despite the archaic attitudes that
still existed during the Victorian period.
‘Letters written by my grandparents, Vanessa Bell and
Duncan Grant, have now become a dense source of learning
for scholars, writers and students alike. To be in the
knowledge that this archive is being kept with the care and
attention it so deserves brings me great joy. I cannot thank
the Tate Archives sufficiently for not only having accepted
them, roughly ordered, bound in old elastic bands and
delivered in ancient boxes from the Wine Society, but for
cataloguing, housing and cherishing them in the way which
they deserve.’ Henrietta Garnett
Selected materials from the
Duncan Grant archive
46
47
Tate Archive
Duncan Grant
cataloguing
What is your favourite item in the Duncan Grant
archive and why?
My favourite so far is probably the set of prints for a
Valentine’s Day card – they’re such delicate, beautiful
things, printed on to very fine red tissue paper. They
are also rather mysterious in that I haven’t – yet – found
a completed card, so can only imagine what the final
result might have looked like. I’m also rather fond of the
Charleston Bulletin, which was a family news-sheet that
the various residents at Charleston contributed to.
‘Dear Duncan. May I call you so and will you call me
Vanessa? It seems rather absurd to begin “Dear Mr Grant’”
Letter dated c.1909/1910
from Vanessa Bell to Duncan
Grant inviting him to dinner.
This is one of the earliest
records of their relationship
in the archive.
48
Selected materials from the
Duncan Grant archive
49
Review of the year
2010–11
‘This is an exhibition of rarely glimpsed national treasures…
and it should be seen’. William Feaver
Karla Black was shortlisted for the 2011 Turner
Prize and went on to represent Scotland at the
54th Venice Biennale
TBC
Every year, Patrons’ support continues to make
a difference to so many areas of Tate. Last year,
the Patrons acquired 11 works for the collection
and supported a diverse range of programmes from
exhibitions, including Watercolour, Miró and The
Vorticists: Manifesto for a Modern World, to Learning
and Access projects, as well as vital conservation.
We take a look back over the past year at the
achievements made possible through your support.
Watercolour, Tate Britain
100 key works shown in
The Vorticists: Manifesto for
a Modern World including
David Bomberg’s seminal
work The Mud Bath, restored
by Patrons last year
Martin Boyce won
the 2011 Turner Prize.
Untitled is currently on
display at Tate Britain
Karla Black Vanity Matters 2009 Image courtesy
the artist; Mary Mary, Glasgow
‘One of the most powerfully
emotive exhibitions
I have seen in a long while.’
2,525 students attended workshops
during the academic year
Martin Boyce
Untitled 2009
Tate © Martin Boyce
Over 160,000 visitors to Watercolour, with an
average daily visitor figure of 850
Over 200,000 visits and over
800 comments on the Tate Miró
blog, written by curator of the show
Mark Godfrey.
One of the top 10 most popular
exhibitions to be staged since
Tate Modern opened
Average daily visitor figure of 1,984
50
‘Probably the best exhibition
I have seen at the Tate. It
was well curated and was a
fascinating voyage through the
life, work and development of
the artist.’
Joan Miró
The Conductor 1976
© Succession Miro/ADAGP,
Paris and DACS, London 2012.
‘The children were able to
create art without worrying
whether it was right or
wrong. The workshop
gave them an opportunity
to express themselves.’
Wyvil Primary School
Children from St Anthony’s School
during a Schools Workshop,
Tate Britain
51
Thank you
We would like to thank everyone
who has generously supported
Tate as a Patron during 2011–12.
Day trip to Hatfield House
52
53
> Melanie Clore
Silver
* Beth and Michele Colocci
>Agnew’s
> Alastair Cookson
> Toby and Kate Anstruther
+ Mr Dan Brooke
> Mr and Mrs Zeev Aram
> Ben and Louisa Brown
> Mr Giorgio Armani
> Michael Burrell
* Mrs Charlotte Artus
> Mrs Marlene Burston
* Mrs Maryam Eisler
> Edgar Astaire
* Miss Silvia Badiali
* Mrs Aisha Caan
* Mrs Petra Horvat
* Anne-Marie and Geoffrey
Isaac
* Mr Nicholas Baring
* Mala Gaonkar
* Mr and Mrs A Ramy Goldstein
The key indicates how long
each individual has
continuously supported Tate as
a Patron.
+ Miel de Botton
* 0 –5 years
* Mr David Fitzsimons
+ 6 –10 years
> The Flow Foundation
* Mr and Mrs Richard Rose
>
> Edwin Fox Foundation
* Claudia Ruimy
* Hugh Gibson
* Vipin Sareen and Rebecca Mitchell
+ Fiona Mactaggart
* The Goss-Michael
Foundation
* Mr and Mrs J Shafran
* Simon and Midge Palley
* Mrs Andrée Shore
* Mariela Pissioti
* Maria and Malek Sukkar
> Mathew Prichard
* Mr Vladimir Tsarenkov and Ms Irina Kargina
> Valerie Rademacher
11+ years
Every effort has been taken to
ensure the accuracy of this list;
however should you find any
errors please do let us know.
Platinum
* Mr Alireza Abrishamchi
* Ms Sophie Diedrichs-Cox
* Frances Reynolds
+ Fares and Tania Fares
+ Simon and Virginia Robertson
* Mandy Gray and
Randall Work
* Mr and Mrs Charles M Hale
* Ghazwa Mayassi Abu-Suud
> Mrs Gabrielle JungelsWinkler
+ Mr Shane Akeroyd
> Maria and Peter Kellner
+ Ryan Allen and Caleb Kramer * Mrs Ella Krasner
> Mr and Mrs Eskandar
* Mehves Ariburnu
Maleki
* Mr and Mrs Edward Atkin
* Scott and Suling Mead
> Beecroft Charitable Trust
* Mrs Abeer ben Halim
* Mr Harry Blain
* Broeksmit Family Foundation
* Rory and Elizabeth Brooks
(Chairman)
* The Lord Browne of Madingley, FRS, FREng
* Mr Stephane Custot
54
* Mr and Mrs Petri Vainio
* Rebecca Wang
* Michael and Jane Wilson
+ Poju and Anita Zabludowicz
and those who wish to
remain anonymous
* Gabriela Mendoza
Gold
* Pierre Tollis and Alexandra
* Eric Abraham
+ Mr Donald Moore
* Jacqueline Appel and Alexander Malmaeus
and Rodrigo Marquez
Mollof
* Mary Moore
* Tim Attias
* Mr Mario Palencia
* Jenny and Robert Borgerhoff
Mulder
* Mr and Mrs Paul Phillips
* Elena Bowes
+ Viscountess Bridgeman
+ The Broere Charitable Foundation
* Mr Dónall Curtin
* Maya and Ramzy Rasamny
> Ivor Braka
* Mrs Malgosia Alterman
* Bilge Ogut-Cumbusyan
& Haro Cumbusyan
Evening dinner and curator-led tour of Gerhard Richter: Panorama
+ Dame Helen Alexander, DBE
> Mrs Lena Boyle
+ Timothy and Elizabeth Capon
> Mr Francis Carnwath and
* Ms Natascha Jakobs
* Mrs Heather Kerzner
* Mr Eugenio Lopez
* Mr Francis Outred
+ Mr David Roberts
* Mr Charles Roxburgh
+ Carol Sellars
* Mrs Dana Sheves
+ Britt Tidelius
* Mr and Mrs Stanley
S. Tollman
* Emily Tsingou and Henry
Bond
* Mrs Celia Forner Venturi
> Manuela and Iwan Wirth
> Barbara Yerolemou
and those who wish to
remain anonymous
Visit to the studio of Phyllida Barlow
> Mrs Jane Barker
Ms Caroline Wiseman
* Mr Edward Barlow
* Mrs Casini
+ Victoria Barnsley, OBE
> Lord and Lady Charles Cecil
> Jim Bartos
> Frank Cohen
* Mrs Nada Bayoud
* Dr Judith Collins
* Mr Harold Berg
* Mrs Jane Collins
* Lady Angela Bernstein
> Terrence Collis
> Ms Anne Berthoud
> Mr and Mrs Oliver Colman
> Madeleine Bessborough
> Carole and Neville Conrad
* Ms Karen Bizon
* Mr Gerardo Contreras
> Janice Blackburn
> Giles and Sonia Coode-Adams
* Mr Brian Boylan
+ Cynthia Corbett
55
* Mark and Cathy Corbett
> John Erle-Drax
> Brian and Lesley Knox
+ Paul and Alison Myners
* Mr and Mrs Ryan Prince
* Mrs Ursula Cornely
> Stuart and Margaret Evans
+ Kowitz Trust
+ Daniela and Victor Gareh
* James Pyner
> Tommaso Corvi-Mora
+ Gerard Faggionato
* Mr and Mrs Herbert Kretzmer * Ann Norman-Butler
> Mrs Phyllis Rapp
> Mr and Mrs Bertrand Coste
* Ms Rose Fajardo
* Ms Jacqueline Lane
+ Julian Opie
* Mr and Mrs James Reed
* Kathleen Crook and
James Penturn
> Mrs Heather Farrar
* Steven Larcombe
+ Pilar Ordovás
* Susan Reid
> Mrs Margy Fenwick
> Simon Lee
* Sir Richard Osborn
+ Mr and Mrs Philip Renaud
> Mr Bryan Ferry, CBE
* Mrs Julie Lee
* Joseph and Chloe O’Sullivan
+ The Reuben Foundation
> Mr Gerald Levin
> Desmond Page
+ Sir Tim Rice
> James Curtis
* Mrs Virginia Damtsa
* Mr Theo Danjuma
+ Sir Howard Davies
* Mrs Belinda de Gaudemar
* Mrs Jean Fletcher
* Lt Commander Paul Fletcher
Day trip to the Folkestone Trienniale
and Turner Contemporary
* Steve Fletcher
+ Leonard Lewis
> Maureen Paley
> Lady Ritblat
> Mr Gilbert Lloyd
> Dominic Palfreyman
* The Sylvie Fleming
Collection
> Elizabeth Freeman
* James Holland-Hibbert
> George Loudon
> Michael Palin
* Giles de la Mare
> Stephen Friedman
+ Lady Hollick, OBE
* Mrs Adelaida Palm
* Maria de Madariaga
* Mrs Elizabeth Louis
> Julia Fuller
* Mr Michael Hoppen
+ Mark and Liza Loveday
+ Stephen and Clare Pardy
* Carol Galley
> Vicky Hughes
* Daniella Luxembourg Art
* Mrs Véronique Parke
* Mrs Lisa Garrison
> John Huntingford
+ Anthony Mackintosh
* Miss Nathalie Philippe
* Mrs Joanna Gemes
* Mr Alex Ionides
* Eykyn Maclean LLC
* Ms Michina Ponzone-Pope
* Ljubica Georgievska
* Maxine Isaacs
* The Mactaggart Third Fund
> Mr Oliver Prenn
+ The Swan Trust
* Sarah Jennings
* Mrs Jane Maitland Hudson
> Susan Prevezer QC
> Mr Mark Glatman
* Ms Alex Joffe
> Mr M J Margulies
* Mr Adam Prideaux
+ Ms Josefa Gonzalez-Blanco
* Mr Haydn John
* Lord and Lady Marks
* Mr Jonathan Goodman
+ Mr Michael Johnson
> Marsh Christian Trust
+ Mr and Mrs Paul Goswell
+ Jay Jopling
* Mr Martin Mellish
> Penelope Govett
* Mrs Marcelle Joseph and
Mr Paolo Cicchiné
* Mrs R W P Mellish
* Anne Chantal Defay Sheridan
* Marco di Cesaria
> Simon C Dickinson Ltd
* Mrs Fiona Dilger
* James Diner See Gift Info
* Liz and Simon Dingemans
> Martyn Gregory
> Sir Ronald Grierson
> Mrs Kate Grimond
> Richard and Odile Grogan
* Mr Jacques Hakimian
Evening dinner and curator-led
tour of Gerhard Richter: Panorama
> Louise Hallett
* Jane Hay
+ Richard Hazlewood
* Mr Raymond Duignan
* Ms Charlotte Ransom and
Mr Tim Dye
+ Joan Edlis
> Lord and Lady Egremont
56
> Michael and Morven Heller
* Miss Judith Hess
+ Mrs Patsy Hickman
> Robert Holden
> Mrs Brenda Josephs
+ Tracey Josephs
* Mr Joseph Kaempfer
> Andrew Kalman
> Dr Martin Kenig
> Mr David Ker
* Nicola Kerr
> Mr and Mrs Simon Keswick
+ Frankie Rossi
* Mr David V Rouch
+ Mr James Roundell
* Naomi Russell
> Mr Alex Sainsbury and
Ms Elinor Jansz
* Mrs Cecilia Scarpa
> Cherrill and Ian Scheuer
* Ms Fiona Mellish
+ Professor Rob Melville
* Mr Michael Meynell
> Mr Alfred Mignano
> Victoria Miro
* Ms Milica Mitrovich
+ Jan Mol
* Mrs Bona Montagu
* Richard and Helen Keys
* Mrs Valerie Gladwin Montgomery
* Mrs Mae Khouri
* Mr Ricardo Mora
> David Killick
> Mrs William Morrison
> Mr and Mrs James Kirkman
> David Rocklin
Tour of Barry Flanagan: Early Works 1965-1982 led by Tate curators, Clarrie Wallis
and Andrew Wilson, in conversation with the artist Michael Craig-Martin
57
> Sylvia Scheuer
> Miss Cheyenne Westphal
* Miss Camilla Bullus
* Mr Jean-David Malat
* Miss Malgosia Stepnik
* Mrs Cara Schulze
* Mr David Wood
* Miss Verena Butt
* Mr Kamiar Maleki
* Mr Dominic Stolerman
* Andrew and Belinda Scott
> Mr Douglas Woolf
* Miss May Calil
* Ms Clémence Mauchamp
* Mr Edward Tang
* The Hon Richard Sharp
and those who wish to
remain anonymous
* Miss Sarah Calodney
* Miss Charlotte Maxwell
* Mr Ariel Tepperman
* Matt Carey-Williams and
Donnie Roark
* Dorian May Hasiotis
* Miss Inge Theron
Young
* Dr Peter Chocian
* Mr John McLaughlin
* Soren S K Tholstrup
* Hannah Tjaden
* Ms Julia Simmonds
* Ms Maria Allen
* Mrs Mona Collins
* Miss Amywren Miller
* Mrs Padideh Trojanow
* Jennifer Smith
* Thamara Corm
* Mr Fernando Moncho Lobo
* Miss Noor Al-Rahim
* Erin Morris
* Dr George Tzircotis
* Mrs Annette Nygren
* Mr Rupert Van Millingen
* Phyllis Papadavid
* Mrs Dita Vankova
* Ms Camilla Paul
* Mr Timo Weber
* Sara Harrison
* Alexander V. Petalas
* Mr Neil Wenman
* Mrs Samantha Heyworth
* The Piper Gallery
* Ms Hailey Widrig Ritcheson
* Miss Fran Hickman
* Lauren Prakke (Chairman,
Young Patrons Ambassador
Group)
* Ms Seda Yalcinkaya
* Mr Stuart Shave
> Neville Shulman, CBE
> The Schneer Foundation
* Mrs Cindy Sofer
Miss Amanda C Cronin
* HRH Princess Alia Al-Senussi *
* Mrs Carol Sopher
* Miss Sharifa Alsudairi
* Mrs Suzy Franczak Davis
* Flora Soros
* Sigurdur Arngrimsson
* Mr Stanislas de Quenetain
* Mr George Soros
* Miss Joy Asfar
* Mr Alexander Dellal
+ Louise Spence
* Kirtland Ash
* Ms Suzana Diamond
> Digby Squires, Esq
* Miss Olivia Aubry
* Mira Dimitrova
> Mr and Mrs Nicholas Stanley * Rachael Barrett
* Mr Nicos Steratzias
* Ms Shruti Belliappa
> Ms Michelle D’Souza
* Miss Roxanna Farboud
Day trip to Strawberry Hill
* Katherine Ireland
* Miss Eloise Isaac
+ Mrs Patricia Swannell
* Ms Melek Huma Kabakci
> Mr James Swartz
* Mr Efe Kapanci
> The Lady Juliet Tadgell
* Ms Tanya Kazeminy Mackay
+ Christopher and
Sally Tennant
* Mr Benjamin Khalili
* Helena Christina Knudsen
* Rosemary Tennant
* Ms Marijana Kolak
* Mr Henry Tinsley
* Miss Constanze Kubern
* Karen Townshend
> Melissa Ulfane
Day trip to the Folkestone Trienniale and Turner Contemporary
* Mr Marc Vandecandelaere
> Mrs Cecilia Versteegh
> Gisela von Sanden
* Mr David von Simson
> Audrey Wallrock
* Stephen and Linda Waterhouse
* Mr Edouard BenvenisteSchuler
* Miss Margherita Berloni
* Raimund Berthold
* Ms Natalia Blaskovicova
* Dr Brenda Blott
> Offer Waterman
* Mrs Sofia Bocca
+ Terry Watkins
* Ms Lara Bohinc
> Mr and Mrs Mark Weiss
58
* Mr Andrew Bourne
* Jane and Richard Found
* Mr Andreas Gegner
* Ms Alexandra Ghashghai
* Mrs Benedetta Ghione-Webb
* Ms Emily Goldner
* Mr Nick Hackworth
* Alex Haidas
+ Ms Susan Harris
* Miss Marina Kurikhina
* Mr Jimmy Lahoud
* Ms Anna Lapshina
* Mrs Julie Lawson
* Ms Joanne Leigh
* Miss Lily King
* Alex Logsdail
* Mrs Siobhan Loughran
* Charlotte Lucas
* Alessandro Luongo
* Ms Sonia Mak
* Ivetta Rabinovich
* Mr Eugenio Re Rebaudengo
* Mr Bruce Ritchie and Mrs
Shadi Ritchie
* Kimberley and Michael
Robson-Ortiz
* Michelle A S L Yue
* Miss Burcu Yuksel
* Miss Tiffany Zabludowicz
* Mr Fabrizio Zappaterra
And those who wish to
remain anonymous
* Miss Tatiana Sapegina
* Mr Simon Scheuer
* Count Indoo Sella di
Monteluce
* Preeya Seth
* Miss Kimberly Sgarlata
+ Amir Shariat
* Henrietta Shields
* Ms Heather Shimizu
* Mr Paul Shin
* Ms Marie-Anya Shriro
* Mr Max Silver
* Tammy Smulders
Tate Director, Sir Nicholas Serota, at an
evening dinner and curator-led tour of
Gerhard Richter: Panorama
* Mr Saadi Soudavar
59
Young Patrons
1 Visit to the studio of Gary Hume
2 Young Patrons 4th Anniversary Party
3 Young Patrons 4th Anniversary Party
4 Young Patrons on a trip to Glasgow
International Festival, visiting Wolfgang
Tillmans at The Common Guild
5 Visit to the studio of Clunie Reid
The Young Patrons have enjoyed a wonderful year
with over 120 members now in the group. In
celebrating this success, we want to say a very special
thank you to Lauren Prakke, founder of the group.
Through her chairmanship of the Young Patrons
Ambassador Group, Lauren has worked with tireless
dedication and determination to develop, nurture and
grow the Young Patrons into the pioneering scheme
we have today. After five years, as she steps down
from her role, Lauren leaves a legacy of passionate
philanthropy and commitment to Tate’s future. The
new Chair of the Young Patrons Ambassadors will
be announced over the summer.
6 Young Patrons party hosted by
Indoo Sella di Monteluce
7 Visit to the Simon Lee Gallery
8 Young Patrons party hosted by
Indoo Sella di Monteluce
9 Visit to the Simon Lee Gallery
10 Tour of Alighiero Boetti: Game Plan
led by Tate Curator Mark Godfrey
11Young Patrons party hosted by
Indoo Sella di Monteluce
7
1
2
6
3
8
9
5
4
60
10
11
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Tate Patrons
Executive Committee
The Patrons Executive Committee allocates Patrons’
funds on behalf of the group each year. The list below
provides the names of those who were Committee
members on 31 March 2012. We thank them for their
support and commitment.
Alia Al-Senussi
Dan Brooke
Elizabeth Brooks (Chairman)
Beth Colocci
Jane Collins
Joan Edlis
Julian Opie
Richard Rose
Maria Sukkar
Patricia Swannell
Young Patrons
Ambassador Group
The Young Patrons Ambassadors assist in shaping
the programme of events and actively recruit a
new audience of Patrons to Tate. The list below
provides the names of those who were Young Patrons
Ambassadors on 31 March 2012. We thank them for
their support and commitment.
Rachael Barrett
Lauren Prakke (Chairman, Young Patron
Ambassador Group)
Alia Al-Senussi
Amir Shariat
Ed Tang
Fru Tholstrup
Timo Weber
Patrons Executive Committee
meeting for the selection
of Patron acquisitions, Tate Store
62
63
Tate Patrons Staff
Head of Patrons
Gemma Honniball
Patrons Events Manager
Chloe Chapman
Patrons Manager
(Recruitment)
Danielle Burrows
Patrons Officer
Emma Lewis
Patrons Manager
(Recruitment)
Sharmaine Collins
Patrons Administrator
Ruby Green
Patrons Manager
(Retention)
Eleanor Congreve
Contact Information
Patrons Office
Tate Britain
Millbank
London
SW1P 4RG
Phone +44 (0)20 7887 8743
Fax +44 (0)20 7887 8090
[email protected]
www.tate.org.uk/support/patrons
64