ࡱ> )+$%&'(Y bjbj[[ 69 \9 \8 % % % % % % % %8X%$&, %l5P)*"<*<*<*+,a-DC4E4E4E4E4E4E4$:<Xi4 %-++--i4 % %<*<*&5k.k.k.-j %<* %<*C4k.-C4k.k.:3,4<*r..3 /4<50l53R==..=4= %4(k.---i4i4k.---l5----=---------> #:  Tate Report 2014/15 CONTENTS  TOC \o "1-1" \t "Head 1,1" CONTENTS  PAGEREF _Toc304195513 \h 2 Championing ART AND ARTISTS  PAGEREF _Toc304195514 \h 8 Welcoming broad and diverse audiences  PAGEREF _Toc304195515 \h 23 WORKING IN PARTNERSHIP  PAGEREF _Toc304195516 \h 32 MAKING IT HAPPEN  PAGEREF _Toc304195517 \h 39 EXHIBITIONS 2014/15  PAGEREF _Toc304195518 \h 49 ACQUISITION HIGHLIGHTS  PAGEREF _Toc304195523 \h 55 FINANCE & STATISTICS  PAGEREF _Toc304195524 \h 83 MEMBERS OF COUNCILS AND COMMITTEES OF THE BOARD OF TRUSTEES OF THE TATE GALLERY  PAGEREF _Toc304195525 \h 84 Donations, Gifts, Legacies and Sponsorships  PAGEREF _Toc304195526 \h 91  CHAIRMANS FOREWORD Earlier this year, the Warwick Commission laid out a blueprint for how the cultural and creative industries could play a greater role in the UK. It recommended, among other things, greater investment and more attention to education. Its recommendations were designed to lead to wider participation in and access to arts and culture. Tate strongly supports these actions which are not only in line with our vision to champion the role of art in society but also our public service duty to promote the public understanding and enjoyment of art. This year we have had a record-breaking number of visitors with an audience of 7.9 million visiting Tates sites. Henri Matisse: The Cut-Outs was the most popular exhibition in Tates history, attracting over 560,000 visitors. Malevich, Sigmar Polke and The EY Exhibition: Late Turner Painting Set Free also drew large numbers. However, we define success by our ability to balance such shows with new and less familiar names. At Tate Liverpool, an exhibition of the work of Gretchen Bender was shown alongside that of Andy Warhol, introducing a new audience to work later acquired for the collection. At Tate Britain, Kenneth Clark: Looking for Civilisation celebrated the lasting influence of a scholar who, through his writing and television broadcasts, did so much to open the arts to society as a whole. Along with international art from around the world, photography has become a key strand of Tates collection strategy in recent years. That was demonstrated at Tate St Ives in The Modern Lens: International Photography and the Tate Collection and by two exhibitions at Tate Britain: Salt and Silver and Nick Waplington/Alexander McQueen. In 2016, we will open the doors of the new . It is already an impressive achievement. Eleven floors are now in place and the complex brick cladding is being put into place. When it opens it will set new standards for museums with global reach. It will be a place in which visitors can understand the world and their place in it through the experience of work by artists from the world over. It will offer visitors the opportunity to contribute their own thoughts and opinion through the ways that they react to art and the way that they create art in the new learning spaces that are currently taking shape. It will further enhance the delivery of our public service duty and provide additional benefits to local communities in Southwark and the City. The combination of global excellence in exhibitions and scholarship with strong local community benefit has been our intent from the beginning. New galleries in Margate, Nottingham, Wakefield, Gateshead and Manchester have continued this trend. At Tate St Ives, work has begun on a capital project that will transform the gallery and thereby contribute significantly to the town and the creative, cultural and tourist sectors in Cornwall. The new gallery will be a beacon for art in the South West with galleries dedicated to the St Ives Modernists, space for temporary exhibitions and space for educational activities. The first phase of the project is already complete, with the Heron Mall refurbished to provide a welcoming space to the gallerys visitors. We look forward to welcoming the public to the new space when it opens in 2017. Tate St Ives and Tate Liverpool represent Tates long-standing commitment to bring British, modern and contemporary art to the whole of the nation. This has been further expanded with the thirty-four members of the Plus Tate network. This year, this network celebrated five years in which collaboration has led to innovation and knowledge-sharing between partners from Newlyn to Orkney, an achievement recognised in an event with the Secretary of State for Culture, Media and Sport at the House of Commons. Collaboration helps Tate achieve more than it could do on its own. Partnerships are a feature of all of Tates successes, from the Matisse exhibition to the continuing tour of John Constables Salisbury Cathedral from the Meadows. Our digital presence grew with Tates social media channels being particularly popular. There has been progress in a number of areas, including the IK Prize, awarded for digital innovation in the presentation of the arts. The winner this year, After Dark, produced by the young collective The Workers, saw robots guided around Tate Britain at night by website visitors from around the world. Another shortlisted entry, Tate Worlds, put into production separately later in the year, was downloaded over 100,000 times. A new partnership with the Khan Academy has made Tates research and video content available to an audience of some 10 million users worldwide. These successes have been achieved against the backdrop of declining Grant-in-Aid. Since 2010, the funding that Tate receives has been reduced by thirty per cent in real terms. This means that Tate has consistently to look for new ways to generate income. This year has seen the largest ever increase in the number of Tate Members. Tate Enterprises achieved a record year with a turnover of 17.7 million. Sponsorship and support, from both private and corporate sources, has continued to be generous. The Trustees are enormously grateful for all the capital and operating gifts, sponsorship and other financial support. We realise that without this we would be unable to achieve our goals. We thank every individual and organisation that has contributed. Tates volunteers have provided support of a different but equally generous kind, helping many visitors to deepen their experience of the galleries. This represents a remarkable gift of time, enthusiasm and knowledge. In spite of all this support, the pressures remain acute. Tate has delivered, and done so with efficiency, but Grant-in-Aid is the foundation on which further income is secured. Further cuts will need to be replaced by funds from private sources so as to avoid a reduction in the service that Tate can provide. Towards the end of the year, it was announced that Penelope Curtis would leave Tate Britain to become the Director of the Calouste Gulbenkian Museum in Lisbon. This is a prestigious appointment and testimony to her achievements at Tate. Other departures this year include Anne Beckwith-Smith, who for many years stewarded Tates supporters and donors with aplomb, and John Stack and Jane Burton, whose leadership of Tates digital work has brought a stream of awards and paved the way for success in the future. Retirements from the Board of Trustees included the artists Tomma Abts and Wolfgang Tillmans who have now been succeeded by John Akomfrah and Stephen Witherford. Their contribution to the Board and Tate has been immense in areas that have ranged from the aesthetic to the ethical. This year, we also celebrated the 100th birthday of Lord Hutchinson, a distinguished lawyer in the field of freedom of expression, a Trustee from 197784 and Chairman of the Board from 19804. The Trustees also recognise that the strength of Tate is entirely dependent on our team of great people. We thank all our staff for their continuing creativity, enthusiasm and commitment. We were sad to learn of the deaths of Robyn Denny, an artist whose work will be known to many from the walls of Embankment tube station and who is strongly represented in the Tate collection, and Albert Irvin, whose ambitious and colourful abstract paintings were shown at Tate in 2008. We pay our respects and thanks to Steve Hare who worked at Tate for many years. Steve worked with dedication on the catalogue for JMW Turner: Sketchbooks, Drawings and Watercolours, editing some 20,000 catalogue entries containing 5 million words: a vital contribution to scholarship. In distinctive ways, all have made a mark on Tate and on art and its public more widely. The Lord Browne of Madingley Chairman of the Trustees of the Tate Gallery The Trustees as of 31 March 2015 The Lord Browne of Madingley FRS, FREng (Chairman) Lionel Barber Tom Bloxham, MBE Mala Gaonkar Maja Hoffmann Lisa Milroy Elisabeth Murdoch Franck Petitgas Dame Seona Reid, DBE Hannah Rothschild Monisha Shah Gareth Thomas Championing ART AND ARTISTS Tate champions art and its value to society. Museums and galleries are no longer simply places for observation and instruction. They are places for contemplation, but also for personal development, for learning through participation, for opening up debate and discussion. As we expand the geographic reach of our collection and exhibitions, enhance our digital activities and prepare for the opening of the new galleries at and Tate St Ives, we need to respond to the challenges of attracting and engaging new and more diverse audiences. This vision is being shared with more people than ever before. In 2014/15 Tate received 7.9 million visits, the highest number in a single year. This was s busiest ever year with 5.7 million visits. Exhibitions and displays Henri Matisse: The Cut-Outs was the most popular exhibition in Tates history, seen by over 560,000 visitors. The cut-outs formed the final chapter in Matisses career. Their joyous colours and sheer physical presence impressed critics and public alike. Working with colleagues at MoMA in New York, Tate brought together spectacular loans for the show. Memory of Oceania 1953 from MoMA, and Large Composition with Masks 1953 from the National Gallery of Art, Washington, were reunited with a Tate favourite, The Snail 1953. Matisse conceived these three works as a unified whole, yet they had not been viewed together for over fifty years. The final weekend attracted 15,500 people and to accommodate this opened through the final night in a Matisse All Nighter. showed the work of another modern master this year: Kazimir Malevich. Malevichs radical Black Square 1915, and his response to one of the most turbulent periods in twentieth-century history, formed part of the most comprehensive exhibition ever of his work, which took place in the newly launched Eyal Ofer Galleries. A high point of the year at Tate Britain was The EY Exhibition: Late Turner Painting Set Free. This exhibition reassessed the extraordinary work Turner created during his late period, a time of exceptional energy and vigour. It was the second most-visited exhibition in the history of Tate Britain, attracting 266,000 people. Again there were some outstanding loans from abroad, and a notable pairing was made when we united Tates Ancient Rome; Agrippina Landing with the Ashes of Germanicus exhibited 1839 with Modern Rome Campo Vaccino 1839 from the J. Paul Getty Museum in Los Angeles. Turners influence on contemporary artists was demonstrated in a new series of paintings by Olafur Eliasson, the artist who captivated crowds of people in the Turbine Hall in 2003 with The Weather Project (aka The Sun). Like Turner, Eliasson is concerned with the perception of light and colour and these new works, supported by Mr Nelson Woo, were presented in the Clore Gallery, the home of the Turner Bequest. Tate Liverpool continued its magazine style of presenting exhibitions. A pairing of the Dutch artist Piet Mondrian with the less well-known Indian artist Nasreen Mohamedi revealed parallels in development by two artists working in different periods in history and in different continents. Both began with figurative painting but later developed their own distinct expression of abstraction. Transmitting Andy Warhol explored his role in establishing new platforms to disseminate art and illustrated his conviction that art should be for everyone. This was shown simultaneously with the work of multimedia artist Gretchen Bender, while Leonora Carringtons paintings were shown alongside an installation by contemporary artist Cathy Wilkes. The Warhol exhibition attracted 52,000 visitors and research by Tate Liverpool for the European Regional Development Fund showed this generated 1.36 million of additional visitor spend in Liverpool. Tate St Ives celebrated its twenty-first birthday in 2014 and began its major redevelopment project. The first phase opened with a new admissions area and Studio Resource room and the acclaimed exhibition International Exchanges: St Ives and Modern Art 19151965. The first significant rethinking of St Ives art since the major show in London in 1985, it explored the wider national and international contexts that shaped art in St Ives in the 1940s, 50s and 60s. Art from around the world was brought to our visitors in other shows, both large and small scale. , for example, held a major exhibition of the German artist Sigmar Polke and A Chronicle of Interventions in the Project Space, organised in collaboration with Teoretica, Costa Rica, and generously supported by Catherine Petitgas. More recently, the exhibition of the work of the South African-born painter Marlene Dumas at provided an overdue corrective to the perception of figurative painting as a principally male domain. British perspectives The career and impact of Kenneth Clark, one of the most influential figures in British art in the twentieth century, was explored in Kenneth Clark: Looking for Civilisation at Tate Britain. In his writings and television programmes such as Civilisation, Clark sought to bring art to a mass audience and his belief in the social value of art and in everybodys right of access to it anticipated much of todays museum culture. Other exhibitions also looked at British perspectives from fresh angles. British folk art is rarely considered in the context of art history; an exhibition examined the relationship between art and artefact and challenged perceptions of high art. Nearly 200 paintings, sculptures, textiles and objects were drawn together from collections across the UK. Sculpture Victorious examined the sculpture produced during Queen Victorias reign. Photography shown prominently Photography has an important role in contemporary artistic practice and international visual culture. In the past five years, Tate has quadrupled its holdings and over 160 photographers from around the world are now represented in the collection. Photography was prominently shown at all four Tate galleries in major exhibitions such as The Modern Lens: International Photography and the Tate Collection at Tate St Ives the first time the gallery had given the entire display space to photography Conflict, Time, Photography at and Salt and Silver at Tate Britain. There were important monographic exhibitions. Tate Liverpool held the first UK show of the Hungarian-born Gyrgy Kepes, who made experimental photograms. The exhibition was supported by the establishment of an exhibition supporters group led by Russia and Eastern Europe Acquisitions Committee (REEAC) member Peter Kulloi. Tate Britain showed a collaboration between the artist Nick Waplington and the fashion designer Alexander McQueen, supported by Tate Patrons. Smaller displays also brought the medium into focus. We worked with Brian May, astronomer and Queen guitarist, to show his collection of Victorian stereographs alongside the Tate works they depicted. At , a display was devoted to key moments in twentieth-century Italian photography. The selection was made from a group of rare prints recently acquired for the nation under the Cultural Gifts Scheme by HM Government, the first time works have been allocated to Tate from this newly launched scheme. Live and immersive art s Turbine Hall once more hosted a large-scale commission: Richard Tuttles I Dont Know . The Weave of Textile Language, which we presented in collaboration with the Whitechapel Gallery. In the Duveen Galleries at Tate Britain, the Tate Britain Commission supported by Sothebys was by Phyllida Barlow. Tates programme of performance art creates a space for collaboration in areas where artists can take risks and experiment. Since 2012 Tate has commissioned performance art to be broadcast in real time online to audiences across the world, as part of the BMW Tate Live programme. Called BMW Tate Live: Performance Room, each work is followed by questions from viewers across different time zones. The full Performance Room series 201214 was screened at a festival of performance, Do Disturb, at the Palais de Tokyo, Paris. BMW Tate Live also saw a series of performance events in s galleries. A highlight was Up Hill Down Hall: An Indoor Carnival, which involved multiple artists in a piece informed by Londons Notting Hill Carnival and the Rio Carnival in Brazil. Expanding the film programme Tate Film, supported by LUMA Foundation, has introduced a new film programme with four distinct strands, imagined as an extended film festival. The aim is to further develop the relationship between Tates collection and the history of moving image. The four strands cover: previews and premieres of new works by emerging and established artists; monographic film retrospectives; thematic programmes; and discussions on exhibitions, events and festivals. We screened several outstanding retrospectives this year, among them those of Moumen Smihi, Albert Serra and Vlado Kristl. A series of screenings and talks, TV as Material, examined the ways in which artists have used and reimagined television. The collection A number of new displays reflected the broadening of the collection. At , these included a four-room celebration of the long-term loan of a group of Louise Bourgeoiss works on paper through Tate Americas Foundation and ARTIST ROOMS, and a group of multimedia works by Nam June Paik in the process of being acquired. There were also notable displays dedicated to sculptures by Anthony Caro, Nicholas Hlobo and Li Yuan-chia and there were film and video pieces including those by Omer Fast, Cao Fei and Artur {mijewski. Painting remained an important focus, with rooms dedicated to Ellsworth Kelly, Cy Twombly and, from the ARTIST ROOMS collection, Alex Katz. Nam June Paiks work is being acquired through the generosity of the artists family and with the support of Hyundai Motor Company, Tates Asia-Pacific Acquisitions Committee and the Tate Americas Foundation Tate Britain celebrated the return of major Pre-Raphaelite works. John Everett Millaiss Ophelia 18512 and Dante Gabriel Rossettis The Beloved 18656 assumed their positions in the BP Walk through British Art following a tour to the US, Russia, Japan and Italy, where they were seen by over 1.1 million people. One of the most celebrated works of contemporary art, Tracey Emins My Bed 1998, returned to Tate Britain. Emin said she was delighted it was coming home following its appearance when she was nominated for the Turner Prize in 1999. Emin recently gave six of her recent figure drawings to Tate and these were displayed alongside two paintings by Francis Bacon, Study of a Dog 1952 and Reclining Woman 1961, creating a dialogue between works by two artists dealing with turmoil and intense emotion. My Bed will travel to Tate Liverpool and Turner Contemporary in Margate. My Bed is on long-term loan to Tate for at least ten years, thanks to the generosity of its owner Count Duerckheim Deepening experience through displays Tate Britain continued to provide a deeper experience of the collection through the series of BP Spotlights, one room displays in which works from the collection are shown with loans and archival material. They included a selection of works by William Hogarth to mark the 250th anniversary of his death; and New Brutalist Image, a display of unseen material by Eduardo Paolozzi, Nigel Henderson and the Smithsons. In a similar fashion, the DLA Piper Series: Constellations at Liverpool has become a remarkably successful format for generating a rolling programme of changes to collection displays. Growing the collection A total of 1,283 works of art entered the collection this year. This includes the highest value of gifts we have received in a single year, a testimony to the outstanding generosity of all those who have given to Tate. We are also very grateful to all those who supported the purchase of works to the value of 4.2 million. We acquired items by 106 British artists and 110 artists from abroad. One of the most generous gifts ever to Tate was made this year. The Cy Twombly Foundation gave three large late paintings, Untitled (Bacchus) 20068, and five sculptures in bronze dating from the period 197991, following the wishes of the artist. These great works, along with The Four Seasons 19935, already in the collection, give an enduring place in London to the one of the foremost painters of the late twentieth century, following his successful show at in 2008. Over the past five years, Tate has worked to strengthen our photographic holdings and the largest number of acquisitions in a single year 1,086 reflect this shift. Highlights include over 300 works by Harry Shunk and Jnos Kender, donated to Tate by the Roy Lichtenstein Foundation, 412 more works from the Eric and Louise Franck London Collection and, among many others, works by Chris Killip and John Riddy. An outstanding work by Frank Auerbach, Mornington Crescent Summer Morning 2004 came to Tate this year from the estate of his friend Lucian Freud via the Acceptance in Lieu scheme managed by Arts Council England. It was displayed at Tate Britain with the other works from Freuds collection, which were later distributed to galleries and museums across the country. To the historic collection we added our first miniature thanks to funding from Tate Patrons: Charles Beales Mary Beale 1679, a portrait of the artists mother. Amelia Robertson Hills bronze Bust of Percy Bysshe Shelley 1882, also acquired with the support of Tate Patrons, and Richard Redgraves The Sempstress 1846 presented by John Schaeffer, expanded our holdings of nineteenth-century art. Through a unique arrangement, Bill Viola and Kira Perovs video work Martyrs (Earth, Air, Fire, Water) 2014 is being donated to Tate and was installed in St Pauls Cathedral. This is the first time a video artwork has gone on permanent display in a cathedral in Britain and there is a plan for it to be complemented by a second work, Mary. Artists again gave generously. Gifts came from, among others, Rineke Dijkstra, Tracey Emin, Roger Hiorns, David Hockney and David Tremlett. There are now thirty-nine artists in ARTIST ROOMS, thanks to the ongoing endeavours of Anthony and Anne dOffay, Marie-Louise Laband and the Artist Rooms Foundation, and the collection continues to grow through generous gifts and long-loans from artists and their representatives, including Johan Grimonprez, the Easton Foundation, the Estate of Dan Flavin and the Robert Mapplethorpe Foundation. A significant group of thirty-nine photographs by Don McCullin were acquired this year, including a gift from the artist, and a collection of works by Roy Lichtenstein has been placed on long-term loan to ARTIST ROOMS, thanks to the generosity of the Lichtenstein Foundation. Enriching our film holdings It was a particularly strong year for the acquisition of film and video. Tacita Deans Turbine Hall commission, FILM 2011, and David Halls TV Interruptions 19712006, a major example of early video art in Britain, were acquired through the help of Tate Members. Multi-layered issues of identity and ethnicity are explored in John Akomfrahs The Unfinished Conversation 2012, which Tate acquired jointly with the British Council, with support from the Art Fund. Akomfrah was one of the founders of the Black Audio Film Collective, a group of artists and filmmakers dedicated to examining issues of Black British identity through film and media. The Outset/Frieze Art Fair Fund has supported the acquisitions of works from Frieze Art Fair for twelve years. A milestone was reached when we celebrated the hundredth work to come into the collection through this route. Thanks to the Fund, Tate has acquired the work of sixty-nine artists and we are grateful to Candida Gertler and Yana Peel, its co-founders. Outset enabled us to add major film works this year: Harun Farockis Parallel I-IV 201214 and Workers leaving the factory in 11 decades 2006 and James Richardss Not Blacking Out, Just Turning the Lights Off 2011. Female artists in the collection Tate has been building the representation of female artists in the collection and this year acquired works by sixty-five women. An oil painting by Maria Helena Vieira da Silva, an abstract artist in post-war Paris, came from The Estate of Mary Fedden and Julian Trevelyan, accepted by HM Government in lieu of inheritance tax and acquired with additional assistance from the Nicholas Themans Trust Bequest Fund. We also added work by Turner Prize nominee Cathy Wilkes, works by Vicken Parsons through the Chantrey Bequest, and two pieces by artists responding to works already in the collection: Rineke Dijkstras I See A Woman Crying (The Weeping Woman) 2009, which was presented by the artist, and Sophie Calles Purloined (Turner) 19982013. Increasing our international reach The increasing internationalism of the collection was extended by works including South African artist William Kentridges I am not me, the horse is not mine 2008 which was presented to Tate and the Israel Museum, Jerusalem, by Wendy Fisher and Goodman Gallery, Johannesburg and Cape Town, and the vast drawing, Sabra and Shatila Massacre 19823 by the Iraqi artist Dia al-Azzawi, purchased with funds provided by Tate Members, Tate International Council, Tates Middle East North Africa Acquisitions Committee and the Basil and Raghida Al-Rahim Art Fund. Acquisitions Committees Tate now has eight Acquisitions Committees operating around the world, with 282 members. Together they helped us to acquire 154 works last year at a cost of over 2 million. These committees represent a broad geographical spread; one of the most recently established, the Russia and Eastern Europe Acquisition Committee (REEAC) now has representatives from fifteen countries. Two new acquisitions funds were established this year. The V-A-C Foundation will support a fund for Russian art for the next three years and the Edward and Agns Lee Acquisition Fund will provide an annual gift for the purchase of works for four years. The Tate Americas Foundation also continues to help us build the collection. For the last four years the PINTA Museums Acquisitions Programme has supported Tate in collecting Latin American art. Sharing the collection Tate lent 1,640 works of art this year to 273 venues: 1,017 works to 152 venues in the UK and 623 works to 121 venues internationally. Loans were made to 24 countries, including Australia, Brazil, Mexico, India, Latvia and Poland. UK lending has been very strong this year with twenty-two per cent more loans than last year. Some of Tates best-known works were lent to museums and galleries across the UK. Cornelia Parkers Cold Dark Matter 1991 and Auguste Rodins The Kiss 19014 went to the inaugural exhibition for the reopening of the Whitworth, part of the University of Manchester; David Hockneys My Parents 1977 and Henri Matisses Backs were shown at the Sainsbury Centre for Visual Art, Norwich; Pablo Picassos Weeping Woman 1937 went to the Laing Art Gallery, Newcastle, and Pallant House Gallery, Chichester; and Jeremy Dellers Battle of Orgreave Archive 2001 was on view at The Civic, Barnsley, in a show to mark the thirtieth anniversary of the miners strike. Tate lent ambitiously beyond the UK too. Meschac Gabas twelve-room Museum of Contemporary African Art 19972002 travelled to the Deutsche Bank KunstHalle in Berlin as part of an ongoing partnership focusing on international art. Another large installation, David Hockneys Bigger Trees Near Warter 2007, was shown at the Museo Nacional de Arte in Mexico City, one of over 100 works shown in the exhibition Landscapes of the Mind, drawn entirely from Tates collection. Two recent acquisitions by Chris Ofili went to New Museum in New York, three works by Francis Bacon went to the State Hermitage Museum in St Petersburg and sixty-three sculptures and works on paper by Henry Moore went to Zentrum Paul Klee in Bern. Looking after the collection The works in Tates collection are looked after by teams from conservation, art handling and photography. From elaborate historic frames to contemporary neons, from oil paintings to new media, all require specialist, expert care. An opportunity to examine, photograph and conserve two important historic paintings by the eighteenth-century artist John Wootton arose this year when Longleat House in Wiltshire underwent major refurbishment. Digging Out the Fox and Two Stallions Fighting, both 17336, entered the Tate collection in 2004 via the Acceptance in Lieu scheme but have hung at Longleat since they were made. The works were fully examined and conserved, thanks to support from Tate Patrons. In preparation for the exhibition of Phillip Kings work in the Duveen Galleries at Tate Britain, Sculpture Conservation carried out a treatment on And the Birds Began to Sing 1964, with the support of Tate Patrons. The surfaces of the painted steel cones had become scratched and scuffed. In consultation with King, we decided to consolidate, clean and retouch the painted surfaces. Conservation Science helped select the materials. Jacob Epsteins Portrait Bust of Mrs Chadbourne 1910 was conserved in memory of Mrs Rachel Caro ARIBA, late wife of Professor Colin Caro and sister of Sir Anthony Caro. A major achievement this year was being able to return Mark Rothkos Black on Maroon 1958 to public view at . The painting, one of the Seagram murals Rothko donated to Tate in 1970, was vandalised with graffiti ink in October 2012 and it took eighteen months of research and treatment, supported by Tate Patrons and donations to the Tate Fund, to bring the painting back. The project was shortlisted for the Restoration or Conservation category in the 2015 Museums + Heritage Awards. Inspiring learning and research Deepening understanding through research A strong research culture is fundamental to Tates success: it generates new knowledge about the collection, the museum and its activities, opening up new fields of enquiry, developing professional practice and encouraging more people to engage deeply with art. Tate occupies a distinctive position within the academic landscape in the UK and internationally and is helping to transform the way museum research is conducted, presented and disseminated. An important moment came with the launch of the Tate Research Centre: Learning, which is designed to develop and communicate learning research across the sector and internationally. It builds on our close connections to external partners in higher education, visual arts and arts education. The Centre has explored a broad range of themes and begun publishing a range of projects and findings online. The Tate Research Centre: Asia-Pacific was established in 2012 to deepen knowledge of the collection we are building and to support curators in presenting global contemporary art. Now in its third and final year, it has been generously supported by the Andrew W. Mellon Foundation. The programme of discussion, research and dissemination has included a seminar series with academics, some of whom are the Centres Visiting Fellows, and conferences. Dr Sook-Kyung Lee, Research Curator of the Centre, was the Commissioner/Curator of the Korean Pavilion at the Venice Biennale 2015. British Art Network Membership of the Subject Specialist British Art Network has increased steadily, a clear indication of the appetite for making connections with other professionals to deepen expertise in British art. Sixty more professional affiliates joined this year, bringing the total membership to 301 individuals, representing 150 different organisations. A grant of 92,951 awarded by Arts Council England will expand the network during 201518. Events organised through the network explored British sporting art and the challenges of working with large-scale artworks. Additional funding from the John Ellerman Foundations Regional Museums and Galleries Fund enabled Tates BP Spotlight display Basic Design to travel to the Hatton Gallery in Newcastle. The exhibition was accompanied by a British Art Network seminar focused on mid twentieth-century art school education and archival research. A conference, Audiences, Authority and Collaboration in Museum Research, was jointly hosted by Tate Britain, the National Gallery and the National Portrait Gallery. The British Art Network contributes to the sharing of expertise, research and ideas across visual arts organisations in the UK and internationally. It is facilitated by Tate and supported by Arts Council England. Research illuminating the collection The conservation and management of modern and contemporary art continues to be at the forefront of Tates research activities. We are working with international partners to develop new strategies for the conservation of complex digital artworks, part of Pericles, a European Framework Programme 7 funded project. Tate is also testing new techniques using nano-technologies for cleaning modern painted surfaces and plastics, also funded by the European Union via Horizon 2020. Last year, the Modern Oils Research Consortium was launched and, from this, a project on cleaning modern oils was developed and funded in the UK by the Arts and Humanities Research Council. Over the next four years Tate will be an active partner of a Marie Curie International Training Network to develop new approaches to the conservation of contemporary art, training the next generation to respond to the emerging needs of new forms of artistic practice. The working methods used by specific artists are also being examined. The Clothworkers Foundation is supporting research into Francis Picabia, Pablo Picasso and Max Ernsts painting practices and the Paul Mellon Centre for Studies in British Art is providing funds to look at John Singer Sargents painting methods and materials which will contribute to the artists catalogue raisonn. A project, funded by Christies, to produce research into specific works in the collection is well underway. Summary texts on 200 works have been published online. The Christies funding also supports the publication of twenty In Focus projects a new research format consisting of scholarly texts that present new insights into the history, significance and reception of works in Tates collection, produced collaboratively between external and in-house specialists. The Terra Foundation for American Art has supported a three-year research initiative which draws on Tates collection to reveal a richer and more complex view of post-war American art and culture. Six more Collaborative Doctoral Partnership studentships were secured this year and there are currently over thirty such students working in different departments across Tate, their theses supervised jointly by Tate and their host university. The Collaborative Doctoral Partnership scheme helps strengthen the museums research culture and generates research in a broad range of subject areas. Opening up the Library and Archive Tate holds the largest archive of material related to British art in the world. We are making this accessible through a major digitisation project, Archives and Access, which is generously funded by the Heritage Lottery fund. In 2014/15, there were 19,450 visitors to the Tate Library and Archive collections, via the Hyman Kreitman Reading Rooms; 1,000 visitors took part in a tour of the new Archive Gallery, led by the volunteer Archive Explorer tour guides; and 560 visitors joined one of our Library and Archive Show and Tell events. The Prints and Drawings Rooms recorded their highest visitor numbers ever. Tate Britain now has well-established public spaces to display items from the library and archive. We also host group visits and study days. Searching our material has been made easier too with a new resource discovery tool. Tate Members support a great many important library and archive cataloguing projects which bring a wealth of material to the public, including the completion of five key archive collections relating to Barbara Hepworth; the records of Arthur Tooth & Sons; Paule Vzelays papers; the Ex-Directors collection; and the cataloguing and display of the Nimai Chatterji collection of avant-garde documentation. Tate Patrons also support the Archive, this year funding the acquisition of a documentary item and associated video material created by Lubaina Himid, which were shown in the 2012 Tate Britain display Thin Black Line(s). Welcoming broad and diverse audiences At the heart of Tates vision is the aim to bring art to the widest and most diverse audience possible. The Tate collection belongs to everyone and we should therefore do everything we can to open it up to people who might not otherwise engage with visual art. Our programmes seek to address people of all levels of knowledge, from first-time visitors to academics, and we are working to reach even more through our digital platforms. Art for all Children, schools and families It is important that every child in the UK has access to great art wherever they live and whatever their needs or abilities. The arts must be at the core of the national curriculum. Tate can not replace arts teaching in schools but we can play a vital national and international role through our activities. Tates Learning teams worked with more than 1,371,000 people this year. Tate offers pre-school and schoolchildren early introductions to art. At Tate St Ives they can join on-site informal learning sessions such as Toddle Tate and Art Base to look, sketch and draw, working with artists. Programmes such as the St Ives Legacy Town Project, supported by the Heritage Lottery Fund, gave local schools the opportunity to engage directly with the work and story of twentieth-century artists from St Ives. Tates fourth Clore Learning Space opened at Tate Liverpool, celebrating the fiftieth anniversary of the Clore Duffield Foundation. In London more than 182,000 schoolchildren and teachers took part in a self-led visit and a further 7,800 schoolchildren participated in artist-led workshops in the galleries. In London 6,500 school groups attended organised workshops and nearly 410,000 schoolchildren took part in activities. We expanded our special educational needs (SEN) offer for schools by a third. We programmed a series of interconnected events which included continued professional development opportunities for teachers, and workshops and specialist projects. Young people aged five to eighteen with physical, behavioural, cognitive or sensory difficulties or disabilities took part in artist-led workshops throughout the year, and across one dedicated week in May at Tate Britain. Tate wants the public to help shape the programme, to feel empowered to express what they need and want. The Family Collective at Tate Liverpool met for the first time in October. These parents of children who attend childrens centres in Liverpool form an influential group. With their help we have been developing spaces where they can feel confident and giving them a genuine opportunity to shape our collection displays and wider programme. The joy of making things was explored in a half-term activity at Tate Liverpool: Building a Bridge of Books. Many families who took part had not considered going to Tate before so it offered the starting point for a life-long artistic journey. Creating a rewarding experience for all visitors Tate wants all our visitors to be able to enjoy what we offer in our galleries. This year we trained eight more people to deliver British Sign Language (BSL) tours and continued to run popular touch tours of sculpture. Tate is working again with VocalEyes, a training organisation, to deliver audio-description skills training to ten more members of staff. We have also been running a programme of creative art workshops for the visually impaired in which artist educators explore the techniques used by artists within Tates collection displays. Tate participated in National Learning Disability Awareness Month by holding an event for 200 people with profound and multiple physical and learning disabilities, including Downs syndrome. Private views of exhibitions exclusively for disabled audiences have supported those with autism and learning disabilities. These activities have been generously supported by the Tate Fund. Tate Liverpool was awarded a Gold VAQAS (Visitor Attraction Quality Assurance Scheme) accolade by VisitEngland in recognition of its offer to visitors. The assessment praised the warm welcome, the clear signage, the staff, the exhibitions and interpretation, and the modern facilities. In 14/15 Tate Learning was supported by: Lionel Barber BMW BP Mace Foundation Mala Gaonkar The Paul Hamlyn Foundation Hyundai Motor Markit The Stanley Picker Trust Yana Peel Gilberto Pozzi The Taylor Family Foundation The Lord Leonard and Lady Estelle Wolfson Foundation Local communities get involved A new initiative called Soapbox at Tate Britain demonstrates our ambitions for working with local communities. Once a month older people meet at Tate Britain to discuss art. supported the local arts festival Merge for the fourth consecutive year, and invited over 200 residents of Southwark and Lambeth to attend a community private view of Henri Matisse: The Cut-Outs. A special project with St Marys church in Kennington was inspired by the exhibition. Local parishioners worked with artist Sarah Sparkes to design and make their own chasuble based on the garments designed by Matisse and worn by the priests in Vence. In St Ives, the Look Group initiative which is part of the St Ives Legacy project, supported by the Heritage Lottery Fund is a key part of what we offer local residents. This year we participated in a three-way project with Bude Castle Museum and the Royal Cornwall Museum in Truro which resulted in an exhibition at the remotely located Bude. It was seen by over 1,000 people. Tate Liverpool initiated a three-year relationship with Liverpool John Moores University, giving unique opportunities to local students. This strengthens our research capacity through a curator based at the university but often on site at the gallery. We have developed partnerships with City of Liverpool College to pilot a new art course for learning through their Skill Centres to reach students of all ages and we will work closely in the future with Edge Hill University following their support for the Leonora Carrington exhibition. Art in the wider community Tate strengthened its partnership with the Liverpool Biennial, now a Plus Tate partner. Together with 1418 NOW WW1 Centenary Art Commissions we asked Carlos Cruz-Diez and Peter Blake to create dazzle designs for ships to mark the centenary of the First World War. The links to Liverpool with this project were multilayered since Mersey ships played a significant role in the war and many wartime battleships, destroyers and submarines were dazzled on Merseyside. The bold abstract patterns provided a form of camouflage which was intended to confuse and disorientate the enemy. Tate Liverpool collaborated with the BBC and Open Culture on a community event to bring the Mondrian exhibition to wider audiences, creating a human canvas on the waterfront using a Mondrian-inspired grid and people dressed in primary colours. It was featured on The One Show, part of the BBCs Abstraction season. Artists voices are central to Tate St Ives, and its artist residency programme embraces the local communities of Cornwall. Artists in residence Nicolas Deshayes, Marie Toseland and Lucy Stein lived and worked in St Ives, developing their own practice while engaging with artists networks, local people and visitors, continuing the tradition of creative communities in the town. Inspiring careers in the arts Tate partnered with Inspiring Women and BAFTA to host a major networking event in the Turbine Hall at the heart of , introduced by Miriam Gonzlez Durntez. It brought together more than 150 women from the world of arts and culture to talk to 750 girls from local schools about womens participation in the arts. Almost 70% of Tate staff are women and this was an opportunity to discuss the rewarding careers within the sector. Our learning programmes are generously supported by individuals, trusts and foundations, including Tate Patrons and the continued support of Gilberto Pozzi, the Stanley Picker Trust, The Vandervell Foundation, with additional support from Tate Trustee Lionel Barber for our schools workshop programme. We also have renewed commitment from the Lord Leonard and Lady Wolfson Foundation towards our special educational needs workshops. The Clore Duffield Foundation has committed to supporting the Clore Learning Centre at Tate Liverpool for 10 years. A deeper experience through public programmes Artist talks, panel discussions and symposia allow the public to get a deeper experience of the exhibitions and displays. We cater for a wide range of audiences with generalist and specialist interests. Film director Mike Leigh answered questions about his film Mr Turner at Tate Britain, while well-known figures such as former childrens TV presenter Floella Benjamin led personal tours of the BP Walk through British Art. Complex themes are explored unflinchingly through seminars and symposia. These events attract international audiences, academics, artists, cultural historians and others. The Black Subject: Ancient to Modern took a broad historical sweep, using the Tate collection as a starting point for discussion on depictions of people of African and Asian descent in British art. The event was related to the BP Spotlight display Spaces of Black Modernism: London 191939. Promoting digital growth and engagement Tate uses its digital platforms and channels to provide rich content for existing and new audiences and to promote the wide range of exhibitions and events in the galleries. Unique visitors to the website increased year on year by four per cent from 12.8 to 13.4 million. Thirty per cent of visitors came to the website to find out about an exhibition and plan a visit whilst seventy per cent came to research the collection. A grant of 2 million from the Heritage Lottery Fund has funded one our most ambitious digital projects to date. Tate Archive is the worlds largest archive of British art and the digitisation of over 52,000 items makes this one of the richest and most comprehensive digital art and archival resources in Europe. Among the items now online as a result of this project are letters from Paul Nash to his wife, touching family photographs of Jacob Epstein, previously unpublished images of Eduardo Paolozzi and forty-five volumes of Barbara Hepworths sculpture records. These can be seen by worldwide audiences alongside the Tate collection. As part of opening up access to the Archive, Tate has developed new ways of engaging with these historic materials. This includes an online Albums feature which allows visitors to group together archive items and artworks that they can add to, annotate and share, plus a series of films exploring all aspects of the project and a learning programme across the UK working in partnership with key art organisations. Tate is the first fine arts organisation to collaborate with the Zooniverse team led by the University of Oxford to crowdsource full text transcriptions of handwritten documents. Bloomberg continue to support digital interpretation at .Bloomberg Connects invites visitors to engage with art, artists and other visitors through interactive digital experiences including the Drawing Bar, Viewpoints, Screening Room, Global Studios and TateShots. Our partnership with Bloomberg has allowed us to create a truly pioneering programme which takes the exchange of ideas to its heart and inspires visitors both in and outside of the gallery. Our ambition is to increase the online audience by 4 million in the next three years. The priority for the next year is to improve the design and navigation of the site to make it easier for a broad range of audiences to explore the wealth of rich content and the online collection. New partnership with the Khan Academy Tate entered into an important partnership with the Khan Academy this year, funded by Mala Gaonkar and Yana Peel. This non-profit educational website provides a free world-class education for anyone, anywhere and now has 10 million users. Khan has added art and creative learning to its popular maths and science portfolio and introduced a museum-branded page. Currently two UK museums are featured the British Museum and Tate. This brings our video content and research to new global audiences. Instant global distribution through social media This year there was significant growth across all of Tates social media accounts. We now have 1.4 million Twitter followers which gives us the third-largest Twitter following for any museum or gallery in the world. We have over 725,000 Facebook likes and 167,000 followers on Instagram. Social media is instant, global and lends itself to the distribution of high-impact visual material. As an art gallery with a unique, rich collection, we can get people worldwide talking about art. For example, Tate recently invited leading Instagrammers to s Turbine Hall when the gallery was closed to photograph Richard Tuttles installation I Dont Know . The Weave of Textile Language. This attracted 370,000 likes, taking the work to new audiences around the world in seconds. Over 500,000 views were received when we prompted discussion through our LGBT network around diversity in the Tate collection. Pioneering ways of taking Tate films to new audiences Tate produces its own films and shares this content with a wide range of third parties, including the Guardian, the BBC, Nowness, Dazed and i-D as well as other international galleries and museums. Our film series TateShots, supported by Bloomberg, continues to grow its substantial online following and generated 1.9 million views in You Tube this year, a forty-five per cent increase on the previous year. We made our first foray into cinema with a broadcast from Henri Matisse: The Cut-Outs. Audiences all over the world, from Australia to the United States, were taken on a live tour of the exhibition on the big screen and it won Best Non-TV production at the Royal Television Society awards. British Airways is launching a new channel on their in-flight entertainment system which features short films made by Tate. Tate also produced the first interactive documentary from a museum or gallery in 2014, a collaboration with Africa Express, Damon Albarn and TheSpace.org. Online audiences explored composer Terry Rileys minimalist masterpiece In C and the minimalist art at using the latest interactive technology. The viewer could select camera angles, isolate individual performers and even focus on notes played by particular musical instruments. The experience had an unprecedented 4.2 million impressions on social media platforms. The IK Prize Tates inaugural IK Prize for digital innovation, supported by The Porter Foundation, was won by The Workers for After Dark. Their project provided a thrilling way of giving access to the collection beyond gallery opening hours. Alone in the dark with great works of art, online visitors could remotely control robots, taking them on a nocturnal journey through the spaces at Tate Britain. Over 40,000 people worldwide tuned in to watch the live stream. Colonel Chris Hadfield, former Commander of the International Space Station, was the first person to drive one of the robots, which he did from his home in Toronto, tweeting about it to his one million followers. The project won a Best of the Web award at the Museums and the Web Conference in Chicago in the Digital Innovation category and an Honoree nomination at the Webby Awards. The introduction of the IK Prize is a significant marker for Tate. It is symbolic of the importance we place on digital creativity. We want to be experimental and risk-taking, an incubator for new talent and ideas. The winners in the second year were Flying Object for Tate Sensorium. Their installation will allow users to engage all of their senses as they experience art. Another shortlisted entry for the prize in 2014 was too interesting to let drop. Artist and educator Adam Clarke led a collaboration with a team of Minecraft mapmakers to devise Tate Worlds, a project that reimagines artworks from Tates collection as virtual worlds to explore. Minecraft has captivated millions of children and young people across the world and we aim to introduce a new generation to inspirational works from Tates collection. So far, Tate Worlds maps have been downloaded over 100,000 times. WORKING IN PARTNERSHIP The recently published Warwick Commission report Enriching Britain: Culture, Creativity and Growth revealed there is much work still to be done to bring art to everyone, wherever they live and whatever their background. National institutions like Tate have a responsibility to ensure that the collection and our services are available across the country. Around twenty per cent of Tates annual expenditure goes outside the capital, running Tate St Ives and Tate Liverpool but also supporting our many partnership projects across the UK and abroad. Tate seeks to fulfil a national role, notably through the Plus Tate and ARTIST ROOMS networks, taking art and ideas beyond our four galleries, often to remote parts of the UK. Partnerships in the UK Plus Tate In March 2015 we announced the expansion of Plus Tate. This contemporary visual arts network allows partners to share collections, expertise and experience. Sixteen institutions have joined the original eighteen partners, plus the four Tate galleries, almost doubling the size of the group. Plus Tate now encompasses a wider range of organisations and has a greater geographic spread. Three venues in Northern Ireland, The Fruitmarket Gallery in Scotland and Artes Mundi in Wales improve representation beyond England. A central tenet of the network is that institutions work with local communities to give people from all walks of life access to art. Our partner institutions undertake inspiring work, making world-class exhibitions and learning programmes that are relevant to the lives of local audiences, as well as contributing to tourism. This includes many initiatives with young people, offering creative opportunities for skills development through engagement with art. The power of working in partnership was celebrated at the Houses of Parliament at an event attended by then Secretary of State for Culture, Media and Sport, Sajid Javid, with the publication of research into the economic impact of the network: Plus Tate: Connecting Art to People and Places. The original eighteen Plus Tate partners are visited by over 3.5 million people every year, employ over 500 full time staff and have a combined annual turnover of over 33 million. The new Plus Tate partners: Artes Mundi, Camden Arts Centre, Centre for Contemporary Art Derry~Londonderry, Centre for Chinese Contemporary Art, Chisenhale Gallery, The Fruitmarket Gallery, Golden Thread Gallery, Harris Museum and Art Gallery, John Hansard Gallery, Liverpool Biennial, MAC Belfast, MK Gallery, Modern Art Oxford, Northern Gallery for Contemporary Art, South London Gallery and Spike Island. They join the original eighteen partners which are: Arnolfini, BALTIC Centre for Contemporary Art, HOME, Firstsite, Glynn Vivian Art Gallery, Grizedale Arts, The Hepworth Wakefield, Ikon, Kettles Yard, mima, MOSTYN, Newlyn Art Gallery and the Exchange, Nottingham Contemporary, The Pier Arts Centre, Towner, Turner Contemporary, the Whitworth, Wysing Arts Centre, plus the four Tate galleries. ARTIST ROOMS life-changing experiences through art In November, a group of young people from Shetland came to to meet veteran photographer Don McCullin. They interviewed McCullin about his time in war zones and his experience of landscape photography. They asked him to critique their work, which was shown at the Shetland Museum and Archive at the same time as an ARTIST ROOMS exhibition of his own. McCullin said the scenery in Shetland was his kind of landscape stripped bare and full of drama and that the group had responded poetically to their environment with powerful pieces. Anthony dOffay, whose donation is the foundation for the ARTIST ROOMS programme, later took the group of thirteen around the ARTIST ROOMS displays of Joseph Beuys, Alex Katz and Lawrence Weiner. This is the type of activity the ARTIST ROOMS project can encourage: transformative and life changing. Since the inception of the touring programme in 2009, ARTIST ROOMS has been shown in sixty-nine museums and galleries around the UK. The 131 displays and exhibitions nationwide, including those at Tate and National Galleries of Scotland, have been visited by more than 35 million people. This year seventeen associate venues opened ARTIST ROOMS exhibitions around the country, and 225 works were loaned to these institutions. In addition two ARTIST ROOMS displays opened at , and the new ARTIST ROOMS collection of works by Roy Lichtenstein opened in March at the Scottish National Gallery of Modern Art, thanks to the generosity of the Roy Lichtenstein Foundation. ARTIST ROOMS On Tour continues to have a significant and lasting impact on Associate venues across the UK. Thanks to the support of Arts Council England, the Art Fund and Creative Scotland, grants were distributed to Associate venues to support learning and marketing projects, as well as installation and travel costs, and the upgrading of facilities to national environmental and security standards, building capacity and a legacy which will facilitate future loans from the national collections. ARTIST ROOMS exhibitions have encouraged associate venues to develop new audiences for contemporary art. Once again, Associates reported the positive impact ARTIST ROOMS have on their general visitor figures. The Royal Albert Memorial Museum and Art Gallery in Exeter, which showed the work of Gilbert & George, attracted almost 70,000 people during the exhibition. At the start of 2015, a book celebrating the achievements of the first five years of ARTIST ROOMS on Tour was published, richly illustrated with images of artworks and of ARTIST ROOMS exhibitions at Associate venues around the country. The ARTIST ROOMS collection of international modern and contemporary art is jointly owned by Tate and National Galleries of Scotland and was established through The dOffay Donation in 2008, with the assistance of the National Heritage Memorial Fund, the Art Fund, and the Scottish and British Governments. ARTIST ROOMS On Tour 201316 is supported by the National Lottery through Arts Council England, the Art Fund and, in Scotland, the National Lottery through Creative Scotland, making available the ARTIST ROOMS collection to galleries throughout the UK. The collection continues to grow each year through gifts, loans and purchases acquired with the assistance of the ARTIST ROOMS Endowment, supported by the Henry Moore Foundation and Tate Members. Circuit giving young people a powerful voice A grant of 5 million from the Paul Hamlyn Foundation supports Circuit, a national programme connecting young people to the arts in galleries and museums. Led by Tate, Circuit provides opportunities for young people to steer their own learning and create their own activities across disciplines. Young people lead all aspects of the programme; in effect they become curators, marketers, event organisers and managers. This was Circuits second year and there are now thirty-two local and national partnerships with youth sector providers to make sure those in the most vulnerable situations have an opportunity to take part. The momentum gathered through festivals and other activities. In Liverpool, the Blueprint Festival attracted 2,300 people. It opened with an exhibition at Tate Liverpool of new works and performances by young artists from the North West. The climax was a digital spectacle, a mass collaborative event on the Albert Dock. At Tate St Ives, Tates group for fifteen to twenty-five year olds worked with artist mentors to curate Young@Tate events in the gallery and to devise activities in other venues across Cornwall. A highlight was Pop-Up Tate, a week-long artist-led event in a disused shop in Penzance. Young people now have much more visible impact at Tate Britain and . A new strand of Late at Tate events at Tate Britain is now being curated by . They also curated a one-room display at Tate Britain, Source, exploring parallels between the crowded display of art in a traditional salon hang and twenty-first century digital and social media platforms. Alongside this, they created Space in the Tate Britain Learning Gallery where young visitors could talk, think and connect art with their own life experiences. One participant said: It looks like it is relevant to us. It is like a mirror talking back to us. Circuit is a four-year national programme, led by Tate and funded by the Paul Hamlyn Foundation, connecting 1525 year-olds to the arts in galleries and museums working in partnership with the youth and cultural sector. The programme provides opportunities for young people to steer their own learning and create cultural activity across art disciplines. Six Plus Tate partners firstsite, Colchester; MOSTYN, Llandudno; Nottingham Contemporary; Whitworth Art Gallery, Manchester; Wysing Arts Centre, Cambridgeshire and Kettles Yard, Cambridgeshire are working with all four Tate galleries on the programme. Circuit events around the UK It was a busy year for the Circuit programme, with events at partner galleries around the UK in addition to those at Tate. Two-day residential for staff and young people from all ten partner galleries to debate and share practice, October 2014 Gallery 1, a new exhibition with work made and curated by young people at MOSTYN, Llandudno, October 2014 Circulate, a group of young evaluators, capturing the programmes impact on new audiences, including a presentation at an international art and design conference, September 2014 A large scale Winter Gathering at Firstsite including young fire and circus skills performers, December 2014 A twenty-four hour Map Hack workshop at Wysing Arts Centre and Kettles Yard, January 2015 Launch of Whitworth Young Contemporaries as part of the Manchester gallerys reopening, February 2015 COLLABOR-8, monthly music and social happenings at Nottingham Contemporary Constables Great Salisbury goes to Constable country Local residents and visitors to Constable country in Suffolk were given the chance to see John Constables six-foot-wide Salisbury Cathedral from the Meadows 1831 at Christchurch Mansion in Ipswich, which houses the most significant collection of Constables work outside London. It was the first time that the painting had been exhibited in a location where Constable spent so much of his life. The painting he affectionately called his Great Salisbury attracted nearly 1,400 young visitors during half-term week alone. Understanding of the artists work and interests were deepened through a series of workshops and events, which continued throughout 2015. The painting will continue to travel over the next four years, with partners displaying the work in the context of their location and collection, enabling audiences of all ages to enjoy the work of Constable. The partnership tour is made possible by the generous Heritage Lottery Fund and Art Fund support of the Aspire project. In 2014 the painting was shown at National Museum Cardiff where it was seen by almost 55,000 visitors. Constables Salisbury Cathedral from the Meadows 1831 was secured for the British public though major grants from the Heritage Lottery Fund, the Manton Foundation, the Art Fund (with a contribution from the Wolfson Foundation) and Tate Members. Aspire is a five-year partnership project between Tate Britain, the National Galleries of Scotland, Amgueddfa Cymru-National Museum Wales, The Salisbury Museum and Colchester and Ipswich Museums Service, supported by the Heritage Lottery Fund and the Art Fund, enabling this work to go on almost continuous view across the UK. Turner Prize to be presented in Scotland The Turner Prize was thirty this year and it returned once more to Tate Britain, where it was won by Duncan Campbell. It will be presented at Tramway, Glasgow, in 2015, the first time it will have been shown in Scotland. Alternating the exhibition between venues around the UK and Tate Britain has given the Prize a new dynamic and deepened our relationships with colleagues and audiences outside London. International partnerships Tates international partnerships connect Tate to a worldwide public and bring new experiences to audiences in Britain. Last year Tate and the Ministry of Culture, Government of India, signed a Memorandum of Understanding to develop collaborations focused on modern and contemporary art. Our commitment was demonstrated at Tate Liverpool with an exhibition of the work of the modernist artist Nasreen Mohamedi, who was raised in Mumbai. The artist Howard Hodgkin is a frequent visitor to India and Tate collaborated with Chhatrapati Shivaji Maharaj Vastu Sangrahalaya and the Jehangir Nicholson Foundation in Mumbai to organise the first solo exhibition of his work in India, with the support of the British Council and Gagosian Gallery. The Brooks International Fellowships Programme, funded by The Rory and Elizabeth Brooks Foundation and delivered in partnership with Delfina Foundation, aims to bring knowledge and new perspectives to our collections and programmes and deepen our understanding of global artistic practice. In this pilot year, focused on colleagues working in South Asia, three museum professionals from Delhi and Mumbai joined learning and curatorial teams at Tate in London. They examined the role of artists in socially engaged learning programmes, modernist art practices in India, and contributed to the forthcoming Artist and Empire exhibition at Tate Britain. Exhibitions and international loans Exhibitions tour from all four Tate galleries. There were two major international tours of Tate Britain exhibitions: Late Turner went to the J. Paul Getty Museum, Los Angeles, and the de Young Museum in San Francisco and Pre-Raphaelites: Victorian Avant-Garde went to Mori Arts Centre, Tokyo, and Palazzo Chiablese in Turin. Tate created a major exhibition of British Landscape painting specifically for an international tour, bringing our unrivalled collection to audiences in Latin America. Selected by Richard Humphreys, Landscapes of the Mind: Paisajismo britnico. Coleccin Tate. 16902007 was presented at the Museo Nacional de Arte (MUNAL), Mexico City from March to June 2015 where it was seen by 85,381 people. As part of UK Year of Mexico 2015, the British Council supported the inclusion of David Hockneys major painting installation Bigger Trees Near Warter 2007. The exhibition travelled on to the Pinacoteca do Estado de So Paulo, Brazil, where it remains on show until October 2015. Back in the UK, also as part of the Year of Mexico, Tate Liverpool held an exhibition of the work of Leonora Carrington born in Lancashire, but renowned in Mexico. Sharing expertise internationally We share our expertise internationally as well as our collection. The Ministry of Heritage and Culture, Sultanate of Oman, commissioned Tate to train a number of their museum professionals. We devised a programme comprising seven one-week modules which were delivered in Oman and London. Even further afield, in Australia Tate has been advising on the cultural components of a bid to build a new creative quarter in Sydney Harbour. Tate appointed two new staff to the curatorial team at , to strengthen our knowledge of Russian art. Both posts are supported by the V-A-C Foundation for three years and signal a commitment to develop Tates expertise in Russian contemporary and modern art. BP Art Exchange connects schools, galleries and artists internationally and now has participants in fifty-two countries worldwide. There are 350 schools and teachers registered, with 12,250 schoolchildren taking part. We deepened our activities in many countries. A workshop programme in Moscow took place as part of the UKRussia Year of Culture, in partnership with British Council Moscow. And in India, we worked with Srishti School of Art, Design & Technology, Bangalore, and the Kochi International Biennale. MAKING IT HAPPEN As Tate prepares for the future, and Grant-in-Aid continues to fall, one of our main priorities is to ensure a sustainable future for our galleries and activities. Government funding is crucial, and currently accounts for a third of our income, but the rest is self-generated. Trading operations provide one foundation and Tate also continues to grow our support from individuals, foundations, the public sector and corporate sources. This, together with the contributions of visitors, Members and Patrons, is critical if Tate is to inspire future generations and existing audiences. Record year for Tate Enterprises Tate Enterprises (excluding Tate Catering) had its best year ever with turnover of 17.7 million yielding profit for Tate of nearly 3.6 million. This was due in no small measure to the vibrant programme, underpinned by the Matisse exhibition and The EY Exhibition: Late Turner. Other contributory factors were strong incomes from our publishing list, limited editions, the picture library and the online shop. The merchandise team achieved outstanding sales throughout the year totalling more than 7 million, with postcards and prints at all price levels driving much of that success. Sales continued to grow through the online shop, increasing year on year by forty-one per cent. This record level of self-generated profit gives us the foundation for working sustainably in the future. Tate Catering contributed 815,000 in profit this year to Tate. The new Djanogly Caf with its outdoor seating area, the elegantly refurbished Rex Whistler restaurant and the new Members Room at Tate Britain provided an inviting range of places to eat. Tate continues to work on delivering local, seasonal, sustainable and British ingredients at all our outlets. Our coffee, roasted on site at Tate Britain, remains popular, as do our beer and gin collaborations. The importance of our Members, Patrons and donors Members have always been important to Tate. There are now almost 116,000 Members, and this year saw our largest-ever annual growth in membership. Income from fees exceeded 10.5 million for the first time. 1.5 million went towards acquisitions including works by John Riddy, Chila Kumari Burman and Gillian Wearing. 5.4 million supported collection care programmes. Tates magazine, Tate Etc., has a print run of 120,000 and is available as an award-winning app. It goes to all Tate Members and has one of the largest art magazine circulations in the world. Tate Patrons also occupy a crucial place. This year, income from Patron donations reached its highest-ever mark at over 1 million. This income provided significant support for Tates exhibitions, as well as for the Schools and Teachers Programme and the Early Years and Families Programme. Patrons also funded a number of acquisitions and helped to conserve Phillip Kings And the Birds Began to Sing 1963 and Sir John Everett Millaiss The North-West Passage 1874. Young Patrons continues to be a particularly successful group, with fifty-two new members joining this year. Large numbers of donors, Patrons and Members supported the Tate Fund this year. This funds activities with a wide range of people through the Tate Schools Workshops Programme, and through access and diversity projects which help to make the collection available to blind and deaf visitors, and others with disabilities. Long-term support helps realise Tates vision to its fullest potential. A number of individual donors have championed and pledged repeat donations to the exhibition programme over a number of years and we are grateful to them, including Lydia and Manfred Gorvy, the Huo Family Foundation (UK), and those who wish to remain anonymous. Tates International Council continues to grow and now has over 150 members from thirty-one countries with new members from Argentina, Africa and the Asia Pacific regions. In 2013 we successfully launched a special International Council Bursary to support our curatorial research trips, and this year we raised further funds for this just over 100,000. This is vital for curators to carry out research abroad and to help us grow our expertise and make the collection more diverse. Our exhibition programme would not be as rich and inclusive without Exhibition Supporters Groups, made up of generous benefactors who contributed substantially to many large-scale exhibitions. Among them were Richard Tuttles Turbine Hall commission, Kenneth Clark: Looking for Civilisation, Marlene Dumas, Henri Matisse: The Cut-Outs, Malevich, Alibis: Sigmar Polke 19632010, Cathy Wilkes and Gyrgy Kepes. Since its launch in 2013, Tates Legacy Group, The 1897 Circle, has grown to forty members. Our thanks go to everyone who has pledged a future bequest and to our Legacy Ambassadors, David and Jenny Tate, who continue to lead this important group of supporters. Public and charitable funding In addition to Grant-in-Aid from the Department for Culture, Media and Sport, Tate is grateful to receive funding from a number of other public sources for additional activities. Special mention and thanks must be made to the following: the ongoing support of the Heritage Lottery Fund for the Tate St Ives capital project and the St Ives Legacy project, the Archives and Access project and Aspire; and Arts Council England for 500,000 of Capital Grant-in-Aid for the Tate St Ives development, in addition to the 4 million awarded in April 2013. Coastal Communities Fund also awarded 3.9 million to the Tate St Ives capital project, while the British Art Network has also been able to expand with the support of Arts Council Englands Resilience Fund for activities to be delivered between 2015 and 2018. ARTIST ROOMS On Tour 201316 has been, once again, generously supported by the National Lottery through Arts Council England and through the continued support of the Art Fund and, in Scotland, the National Lottery through Creative Scotland. A grant of just under 300,000 from the Greater London Authority, awarded in July 2014, meant we could install wireless hotspots at and Tate Britain. Our corporate sponsors Tate would be a much less vibrant place without our corporate sponsors and partners. Tate relies on corporate funding to deliver all our programmes, from temporary exhibitions to ongoing digital projects, from collection displays to live performance. Many sponsors have supported us over several years, helping us to do more and plan in the longer term. We marked twenty-five years of sponsorship by BP in 2014, the longest corporate sponsorship of Tate. Their support funds the collection displays at Tate Britain, BP Family Festival, BP Loud Tate and BP Art Exchange, our global online learning project. Bank of America Merrill Lynch, one of our longest-running exhibition sponsors, supported Henri Matisse: The Cut-Outs, with additional support from Hanjin Shipping. The EY Tate Arts Partnership is now in its second year and brought The EY Exhibition: Late Turner at Tate Britain to our audiences, one of the most successful exhibitions at the gallery. DLA Pipers long-term support of the collection displays at Tate Liverpool is now in its tenth year. BMW continued to sponsor Tates growing programme of live art, inspiring a new generation of visitors. Our digital activities continue to be generously supported by Bloomberg, helping us to take art to global audiences. Unlock Art, the series of popular short films, was again supported by Le Mridien. Hyundai Motor pledged to support a new series of ambitious commissions for the Turbine Hall. The first Hyundai Commission, by Mexican artist Abraham Cruzvillegas, will be unveiled in October 2015. One of our newest corporate sponsors, Hyundais commitment to support the series for the next ten years is unprecedented, enabling Tate to work closely with a new generation of artists and continually to rethink the encounter between art and the public. At Tate Britain, Sothebys supported their sixth and seventh Tate Britain Commissions for the Duveen Galleries by Phyllida Barlow and Christina Mackie. The first touring exhibition of Tates partnership with Deutsche Bank AG took place last year when Meschac Gabas Museum of Contemporary African Art 19972002, the largest work in Tates collection, went on display in Berlin. Two further exhibitions related to Asia and the Middle East will also be supported through this relationship. Amsterdam Trade Bank came on board to support Malevich at alongside the Blavatnik Family Foundation. First Great Western supported Tate St Ives. With the support of Markit, Tate launched a ticket subsidy scheme in February 2014 aimed at giving access to exhibitions to those who might not otherwise be able to visit. The scheme, Art for All, saw Markit matching donations made by the public to provide 5,000 tickets to exhibitions across the Tate galleries. Christies supported the summary and focus texts on the Tate website which comment on and investigate works from the Tate collection, and Credit Suisse supported the Asia-Pacific Acquisitions Committee dinner in Hong Kong in March 2015. The number of Corporate Members grew in London, Liverpool and St Ives. Broadening the collection through giving This has been Tates most successful year in terms of value of gifts coming in to the collection. There have also been many significant donations, from individuals, trusts and foundations, legacies and our International Council and Acquisitions Committees, which have helped us to purchase works. We are grateful to all those who have given so generously this year. We have continued to enhance the representation of British artists within the collection through, for example, the acquisition of Mark Gertlers painting The Artists Brother Harry Holding an Apple 1913, bequeathed by long-term Patron Edgar Astaire, and two works by Sylvia Sleigh, with the support of the Estate of Sylvia Sleigh. The Evelyn, Lady Downshires Fund supported the acquisition of works on paper by Phyllida Barlow, The Gytha Trust added a work by Andrea Buttner, and The Nicholas Themans Trust acquired Marlow Mosss White and Yellow 1935; all three funds were established through generous cash bequests. We have also continued to strengthen the representation of international artists, with the acquisition of Mark Bradfords Riding the Cut Vein 2013, purchased with assistance from Anita and Poju Zabludowicz, Noam Gottesman, an anonymous donor and the North American Acquisitions Committee. Glenn Ligons Come Out #1 2014 was purchased with funds provided by Ivor Braka Limited, Wendy Fisher, the Garcia Family Foundation, the Andrew Nikou Foundation, the Oppenheimer family, Robert Randall, Anita and Poju Zabludowicz, Thomas Dane Ltd and others. Mathias Polednas Imitation of Life 2013 was acquired as a partial gift of the artist and the Austrian Pavilion and partial purchase with funds provided by the Ampersand Foundation, Catherine Lagrange, Pierre Lagrange and The Dr. Mortimer and Theresa Sackler Foundation. Rose Finn-Kelceys Bureau de Change 1987 and Vong Phaophanits Neon Rice Field 1993 were presented in memory of Adrian Ward-Jackson by the Weltkunst Foundation. Two paintings by Isabel Rawsthorne were presented anonymously. Work by Bob and Roberta Smith was presented through the Paul and Louise Cooke Endowment. Developing the people and culture of Tate The dedication and creativity of staff produce the imagination and flair which makes Tate a place of excellence. Working with ever-tighter budgets we continue to be ambitious and entrepreneurial. We also recognise that we need a workforce which reflects todays diverse society and all its voices. In spring 2014, a Tate-wide consultation gave everyone a say in how we shape our future, setting our objectives to 2020. We have been working across the organisation to equip staff for change as we move towards expanded operation at and Tate St Ives. We aim to develop potential as well as strengthening individual teams and we have run a range of courses for managers and launched a series of Leadership Masterclasses. Strengthened networks give staff a more powerful voice We have strengthened our diversity networks by adding a fourth network, representing the needs of employees with caring responsibilities, to our existing networks representing BAME, disabled and LGBT employees. Over the next year we will be working to ensure these groups are more strongly integrated into the decision-making processes at Tate. We have also further strengthened Tates Staff Council, so that it has more complete representation from all sections of Tates working community. All these activities have the aim of trying to create a more open and inclusive culture at Tate by giving employees a greater say in what we do and using their thoughts and ideas to help improve the way we work together. Skills for the Future trainees find jobs at Tate The Skills for the Future training programme, supported by the Heritage Lottery Fund, has provided a new framework for work-based learning. Twenty-seven young trainees took part over three years in on-the-job accredited training in Collection Care. Some were based in the Conservation department and undertook specialist training, while fifteen trainee Registrars and Art Handlers and a trainee Photographer completed a Diploma in Cultural Heritage. Nine of these young people are now permanently employed at Tate, and ten have been added to our professional register. The recruitment process meant the programme attracted young people from backgrounds where they might not ordinarily have the opportunity to forge a career in a museum or gallery. More Tate volunteers welcome visitors Over 350 volunteers contribute their time, energy and enthusiasm to Tate. Our volunteer guides programme has been running since 1979 and in 2014 three guides celebrated their thirty-fifth year. Around 36,000 visitors a year are helped in our galleries by these guides, giving visitors a warm welcome and gathering feedback. In the Library and Archive, our longstanding group of volunteers have been joined by two new groups: preservation volunteers who support the digitisation process on the Archives and Access project, and the Archive Explorers who lead archive gallery tours. Over the year, we have doubled our hosting team to 200. Our volunteers reflect a diverse range of people and many are recruited through local networks such as charity project Portugal Prints, a local branch of Mind, and Streetwise Opera, a charity supporting the homeless. We have two new recruits from , our young peoples group, bringing new perspectives to our visitors. Completing the capital programmes Tates buildings must meet the needs of future generations. We want to inspire our visitors and encourage them to enjoy art in all its forms. Our aim is to create ways for people to explore their own reactions and to connect with each other using art as a starting point for adventure and new journeys. The new The new aims to be a model for museums in the twenty-first century. The worlds most visited museum of modern and contemporary art will grow to become more open and more international. Tates collection has expanded to embrace new regions and new media and our visitors seek new ways to engage with art. We have made significant progress this year on the construction of the building, the content for the new spaces, and on fundraising. In 2014 we completed the core, 64.5 metres high. The brickwork is now being put in place, reinterpreting the original brickwork of Giles Gilbert Scotts power station. The internal spaces, too, are taking shape. Staircases linking the Tanks with the gallery floors, and a public stair leading to the viewing terrace, have been poured in situ. The new collection and learning spaces are being prepared. Over the coming year, there will be a progressive rehang of every gallery across . This is a challenging logistical operation, involving colleagues from right across the organisation. Exhibitions have been planned, with an integrated programme of performance art and new media. Tates shops and catering outlets are being fitted out. There is growing anticipation as we prepare to deliver a much enhanced experience for visitors when we open in 2016. None of this would have been possible without both public and significant private funding, and we are very grateful for the outstanding support the project has received from private individuals and from trusts and foundations. Expanding Tate St Ives In Cornwall, the Tate St Ives Project to transform the experience for our visitors continues. The first phase of the project opened in summer 2014, with an improved entrance to welcome visitors and a Studio Resource Room focusing on the St Ives artists of the mid twentieth century. Excavation of the site for the extension was completed in spring 2015, making way for 500 square metres of new gallery space and a new Collection Care suite. Added to the construction of a new learning suite at the heart of the building, we are now making significant progress towards the launch of the new Tate St Ives in 2017. Several funding milestones were reached this year and the project is now fully funded. Arts Council England awarded the project 500,000 of Capital Grant in Aid, in addition to their 4 million grant awarded in April 2013. The Heritage Lottery Fund continued funding both the building project and the St Ives Legacy Project. A substantial grant from the Coastal Communities Fund of 3.9 million was awarded towards the refurbishment and expansion. This recognised the wider economic impact of the gallery on the regional economy. As one of the most important attractions in the South West, the new Tate St Ives will support culture and tourism in Cornwall and it is anticipated that it will generate an additional 87 million for the local economy in its first ten years, creating jobs and business. We are also enormously grateful to The Headley Trust, The Foyle Foundation, the Clore Duffield Foundation, Mr Ronald and the Hon Mrs McAulay, and Lord and Lady Myners, of Truro, for their support of this project. A further new development in the history of Tate in St Ives came this year with the announcement that the Palais de Danse in St Ives, for many years the second workshop of sculptor Barbara Hepworth, has been gifted to Tate. This essential part of the cultural history of St Ives will complete the Barbara Hepworth Will Trusts transfer of Hepworths properties in the town to the nation. Hepworth used the space as a workshop to create some of her most important commissions such as Winged Figure for John Lewis and Single Form for the United Nations headquarters in New York. EXHIBITIONS 2014/15 Henri Matisse: The Cut-Outs 17 April 7 September 2014 For the first, and perhaps the last, time, Matisses major late works made from cut paper were brought together. Global sponsor: Bank of America Merrill Lynch. With additional sponsorship from Hanjin Shipping. Supported by Henri Matisse Exhibition Supporters Group and Tate Patrons Project Space: A Chronicle of Interventions 2 May 13 July 2014 Curated in collaboration with TEOR/Tica, San Jos, Costa Rica, this exhibition looked at the history of Western intervention in Central America. Supported by Catherine Petitgas, Tate International Council, Tate Patrons and Tate Americas Foundation Malevich 16 July 26 October 2014 Presented in the Eyal Ofer Galleries, this landmark exhibition looked at Kazimir Malevichs revolutionary suprematist paintings, including the radical Black Square. Sponsored by Blavatnik Family Foundation and Amsterdam Trade Bank with additional support from R and S Cohen Foundation Alibis: Sigmar Polke 19632010 9 October 2014 8 February 2015 A major retrospective of the experimental and mischievous artist, including works made from snail juice, meteor dust and even uranium. Supported by Fergus McCaffrey with additional support from The Sigmar Polke Exhibition Supporters Group and Tate International Council Conflict, Time, Photography 26 November 2014 15 March 2015 From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving photography exhibition, presented in the Eyal Ofer Galleries, focused on the passing of time. Richard Tuttle: I Dont Know . The Weave of Textile Language 14 October 2014 6 April 2015 The American sculptor took over the Turbine Hall with a large artwork made from swathes of coloured fabric. Supported by The I Dont Know . The Weave of Textile Language Supporters Circle Marlene Dumas: The Image as Burden 5 February 10 May 2015 The works of the prominent South African painter were shown in this psychologically charged exhibition. Supported by Mondriaan Fund with additional support from The Image as Burden Exhibition Supporters Group and Tate Patron Tate Britain Kenneth Clark: Looking for Civilisation 20 May 10 August 2014 This exhibition looked at Clarks wide influence on British art in the twentieth century, including works from his own collection. British Folk Art 10 June 31 August 2014 The extraordinary and surprising works of some of Britains unsung artists were shown in the first major exhibition of British folk art. Tate Britain Commission 2014: Phyllida Barlow 31 March 19 October 2014 Sculptor Phyllida Barlow created her largest and most ambitious work in London to date, filling the Duveen Galleries with towering structures made from everyday materials. Supported by Sothebys Turner Prize 2014 30 September 2014 4 January 2015 The Turner Prize returned home for its thirtieth birthday. Duncan Campbell won for his film It for Others. The EY Exhibition: Late Turner Painting Set Free 10 September 2014 25 January 2015 The first exhibition devoted to the extraordinary work J.M.W. Turner created between 1835 and his death in 1851. Part of the EY Tate Arts Partnership Sculpture Victorious 25 February 25 May 2015 A celebration of the powerful, beautiful and inventive sculptures produced in the Victorian era. Supported by The Henry Moore Foundation and Tate Patrons Salt and Silver: Early Photography 18401860 25 February 7 June 2015 The first exhibition in Britain devoted to salted paper prints, one of the earliest forms of photography. Nick Waplington/Alexander McQueen: Working Process 10 March 17 May 2015 Photographs by Waplington go behind the scenes at lauded fashion designer McQueens final collection. Supported by Tate Patrons Tate Liverpool Mondrian and his Studios 6 June 5 October 2014 A life-size reconstruction of Mondrians Paris studio was the centrepiece of this exhibition of the celebrated modernist painter. Supported by the European Regional Development Fund (ERDF) and the Embassy of the Netherlands Nasreen Mohamedi 6 June 5 October 2014 The painstaking geometric drawings of this Indian artist. Supported by the European Regional Development Fund (ERDF) Liverpool Biennial: Claude Parent 5 July - 26 October 2014 Radical architect Parent transformed the Wolfson Gallery with slanted floors and ramps, creating a new space in which to view the collection. Transmitting Andy Warhol 7 November 2014 8 February 2015 This exhibition brought together more than 100 artworks from one of the most influential artists of the twentieth century. Supported by the Terra Foundation for American Art, European Regional Development Fund (ERDF), Liverpool City Council and Tate Liverpool Members. Includes works from the ARTIST ROOMS collection Gretchen Bender 7 November 2014 8 February 2015 The first solo exhibition of Benders work in the UK showcased a selection of her pioneering immersive multimedia works, including a monumental 24-screen installation. Supported by the European Regional Development Fund (ERDF) The Serving Library 7 November 2014 8 February 2015 Leonora Carrington 6 March 31 May 2015 Born in England, Carrington became one of Mexicos best-known painters. This exhibition explored her dreamlike take on surrealism. Supported by the Government of Mexico as part of the Year of Mexico in the UK 2015. Sponsored by Edge Hill University. With additional support from the West Dean College The Edward James Foundation and Suzanne Deal Booth Cathy Wilkes 6 March 31 May 2015 The Turner Prize nominee brought together over a decade of her large-scale installations. Supported by British Council Northern Ireland, Culture Ireland, The Henry Moore Foundation and Rennie Collection Gyrgy Kepes 6 March 31 May 2015 Eighty photographs, photomontages and photograms made by the artist, designer and educator. Supported by the Kepes Exhibition Supporters Group Tate St Ives International Exchanges: Modern Art and St Ives 19151965 17 May 28 September 2014 This exhibition explored the wider national and international contexts which shaped art in St Ives, including work by Brancusi, Arp, Giacometti and Pollock. Sponsored by First Great Western. Supported by Dunard Fund, Exhibition Supporters Group, Tate Members and Tate St Ives Members The Modern Lens: International Photography and the Tate Collection 14 October 2014 10 May 2015 Looking at developments in international photography from the 1920s to the 1960s, the exhibition uncovered the sense of curiosity and experimentation as artists harnessed the medium in new ways. ACQUISITION HIGHLIGHTS Charles Beale 1660-?1726 Mary Beale 1679 Watercolour on vellum support, circular: 87 x 67 mm Presented by Tate Patrons 2014 T14107 This portrait miniature of one of Britains earliest female professional artists, painted by her son, is the first work by Charles Beale to enter the collection, and also the first miniature to be purchased by Tate. When this miniature was in the Walpole collection at Strawberry Hill it was celebrated as a self-portrait, and has been known as such until very recently. It is in fact by Mary Beales son, Charles, who trained as an artist in his mothers studio and from 1677 received instruction as a miniaturist under Thomas Flatman, a key figure in the Beales circle of intimate friends. Technically, the miniature displays Beales indebtedness to Flatman but, rather than being painted from life, as with other Beale miniatures, it is possibly a copy after an oil portrait. Martin Ferdinand Quadal 17361808 Portrait of a Man Playing a Flute 1777 Oil paint on canvas 760 x 635 mm Purchased 2015 T14193 This unusual and striking portrait shows the sitter playing a simple wooden one-key flute. The painting is inscribed M F Quadal F 1777, identifying it as a work of the itinerant Moravian artist Martin Ferdinand Quadal from a date when he was known to be active in the north of England. The portrait is closely comparable in its naturalism and immediacy to the contemporary work of Joseph Wright of Derby. It similarly emulates the dramatic light and shade of seventeenth-century Netherlandish art. The picture is rare in depicting a man apparently of genteel social character actively making music, and very unusual in showing an adult male sitter playing a woodwind instrument. The conventions of polite portraiture dictated that men would generally be shown in a more detached and restrained style. Yet more unusual are the mans closed eyes, something which is seen only in depictions of unsighted sitters. There were many locally prominent blind musicians in the period, but the exact identity of this man has not yet been established. Mark Gertler 18911939 The Artists Brother Harry Holding an Apple 1913 Oil paint over tempera on board 510 x 350 mm Bequeathed by Mr Edgar Astaire 2015 T14238 This painting in tempera on panel depicts Mark Gertlers elder brother Harry. Between 1913 and 1914 Gertler made a series of portraits of his family, including Family Group (Southampton City Art Gallery), depicting Harry with his wife and child. Gertlers use of tempera reflects his interest in the techniques and the formal simplifications of early Italian painters. Interviewed in the Jewish Chronicle in 1912, Gertler had expressed his admiration for the work of Piero della Francesca and Giovanni Bellini and stated that: One should never forget the primary function of art the music and rhythm of colour. Characterisation and psychology, all important in the novel, are quite of secondary importance in the picture. In this portrait the sitters deliberately theatrical, non-naturalistic pose and the vibrant opposing colours in the work reflect these ideas, and also show the influence of post-impressionism in the intensification of his palette, and the simplification of the facial features of the sitter into a series of angular planes and forms. Marlow Moss 18891958 White and Yellow 1935 Oil paint, string and canvas on canvas unconfirmed: 622 x 400 mm Purchased with assistance from Tate Members 2014 T14160 Marlow Moss left Britain in 1927 and settled in Paris where her work swiftly encompassed the modern idioms of abstraction as realised by artists associated with De Stijl; in 1929 she met Piet Mondrian and adopted his neo-plasticism as the principle by which she made her work, becoming both a close friend and disciple of the Dutch artist. Although the early work of Moss is often discussed in terms of her closeness to Mondrian, this obscures what she held to be her guiding principle of light and movement that by 1935 had encouraged her to substitute string for her earlier use of painted black lines. She stated, I dont see form, I see only space, movement, light, and in this respect string provided her with the means to retain a linear structure while opening her paintings up to a greater expression of light an expression that the black line contained and diminished. White and Yellow is one of the earliest paintings in which she adopted this use of string alongside the area of textured collage to exploit both the play of light she sought and a shifting rhythmic perception of space that can also be recognised in Ben Nicholsons contemporaneous work such as 1935 (white relief) 1935 (T00049) and Paule Vzelays very different use of string for constructions such as Lines in Space No. 3 1936 (T07620). Maria Helena Vieira da Silva 19081992 The Tiled Room 1935 La Chambre carreaux Oil paint on canvas 604 x 913 mm Accepted by HM Government in lieu of tax with additional assistance from the Nicholas Themans Trust 2014 T14206 The Tiled Room, regarded as the breakthrough work for Portuguese artist Maria Helena Vieira da Silva, shows a linear web filled with a kaleidoscopic array of facets that generate a sense of space. The lines define depth, while the subtle gradations of colour suggest a sense of claustrophobia. This psychological charge has been related to the artists memories of her lonely childhood in her grandmothers house in Lisbon following the early death of her father and her mothers withdrawal into mourning. The purchase of The Tiled Room by the British artist Julian Trevelyan in 1937 is said to have been only Vieira da Silvas second ever sale, following the purchase of another work by Italian artist Massimo Campigli. Both men were also foreign artists working in Paris, offering evidence of the mutual support provided by the international artistic community at that time. Alfredo Camisa 19272007 Urban Alphabet 195561, printed 2005 Alfabeto Urbano 16 photographs, gelatin silver prints on paper Each 405 x 305 mm or the reverse Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015 P13644P13659 Urban Alphabet is a series of sixteen photographs taken by Alfredo Camisa between 1955 and 1961 and printed by the artist for the first time in 2005. Each image depicts a letter of the alphabet found in signage in Italys urban and suburban landscape experiments produced through composition, framing and high contrast, to draw attention to texture, line and form. Camisa was an amateur photographer who took the majority of his photographs as part of his job while travelling as a chemical engineer, finding subject matter in the communities he came across in north Africa, Europe and rural Italy, as well as in his adopted hometown of Milan. Although he only made work between 1953 and 1961 he was highly active during this period involved with avant-garde photographic group La Misa, published in key weekly magazines, and included in international exhibitions such as Subjective Photography and is regarded as one of the foremost photographers to emerge during Italys post-war period. Harry Shunk 19422006 and Jnos Kender 19372009 305 photographs taken between 1957 and 1979 Gelatin silver prints on paper Various dimensions Presented by the Roy Lichtenstein Foundation in memory of Harry Shunk and Jnos Kender 2014 P13615P13638; P14003P14157; P14159P14284 These 305 photographs provide a historical record of some of the most important artworks, performances, artists and other prominent figures of the 1960s and 70s. They were taken by Harry Shunk and Jnos (Jean) Kender during their collaboration between 1957 and 1973, and by Shunk independently prior to and following these years, concurrently with their commissioned documentary work. The photographs were only revealed upon the discovery of their vast archive in 2006. This group including straight street photography taken predominantly in Paris, New York, Berlin, Belgium, Milan and India; formal studies and still-lifes; and experimental staged, narrative sequences is illustrative of Shunk and Kenders technical and creative ability as artists in their own right, while also indicative of the mutual exchange between the two distinct yet overlapping areas of their practice. Ernest Mancoba 19042002 Untitled 1957 Oil paint on canvas 455 x 270 mm Purchased with funds provided by Tates Africa Acquisitions Committee 2015 T14189 This mid-career work by South Africas foremost modernist painter, Ernest Mancoba, was painted in Paris, where the artist settled permanently in 1952, having left his native South Africa in 1938 due to racial prejudice. Untitled 1957 is composed primarily of emphatic, curved strokes, energetic marks variously intersecting to form X and V shapes and suggesting cross-hatching. The artist first developed this style in the late 1940s alongside fellow CoBrA members Asger Jorn, Constant and Karel Appel. The blue pigments that dominate the picture plane span a range of tones from muted blue-grey, pale washed-out blue to brighter cobalt. These colder blues are offset by strokes of warm complementary orange and red. Contrasting warmth is also found through intermittent notes of yellow. Characteristic of Mancobas spontaneity and improvisation, this work speaks of the freedom and experimentation with which he challenged cultural expectations. Pinot Gallizio 19021964 Industrial Painting 1958 Monoprinted oil and acrylic paint and typographic ink on canvas Overall display dimensions variable Purchased with funds provided by Tate International Council 2015 T14249 Industrial Painting 1958 is Pinot Gallizios longest industrial painting, measuring seventy-four metres when unrolled, and is the second painting of this kind made by the artist. The first, which is nine metres long, dates from 1957. Industrial Painting 1958 was made just prior to the Cavern of Anti-Matter 19589, Gallizios other major work that took the form of a temporary installation at Galleria Martano, Turin. It is one of a series of works on the themes of anti-matter in the format that he began using after experimenting with new techniques in his laboratory in Alba in 1956. According to the artist, the industrial paintings were intended to signify a way for art, and painting specifically, to release anti-economic energies for a future age. Gallizios paintings were sold by the metre in the market of Alba in Italy, as well as in galleries. Tsuyoshi Maekawa born 1936 Two Junctions 1960 Oil paint on canvas 1621 x 1302 mm Purchased with funds provided by Tates Asia-Pacific Acquisitions Committee 2015 T14162 Tsuyoshi Maekawa lives and works in Osaka and was a prominent member of the Gutai Art Association from 1962 to 1972. Founded by Jiro Yoshihara in 1954, Gutai was an important modern art movement in Japan with many international associations. Sharing Gutai members interest in the performative nature of painting while introducing industrial and everyday materials, Maekawa employed burlap cloth, a textile used to make rice bags, to create expressive and relief-like textures on the surface of his paintings. To create Two Junctions, Maekawa placed pieces of burlap on to a canvas, then cut, sewed and folded the material. He poured coloured enamel paint over the textured surface, producing an abstract image. The texture of the burlap is visible through the poured paint, while thin lines of white paint create a flowing linear composition. The painting was created in 1960, two years before Maekawa joined Gutai, when he was already familiar with their paintings. It shows an interest in the texture of painting which he continued to develop throughout his career. John Hoyland 19342011 11.7.64 1964 Acrylic paint on canvas unconfirmed: 2134 x 3049 mm Presented by the McMaster Museum of Art, Hamilton, Ontario 2014 T14174 11.7.64 1964 was included in John Hoylands first solo exhibition at the Marlborough New London Gallery in December 1964 and is one of a small number of paintings that adopt a similar format, size and openness of composition; here, the structure of the four wedges of colour creates a rhythm against the green field, and perceptually each appears to recede into or advance from that field. Earlier that year Hoyland had participated in the 1964 New Generation exhibition at the Whitechapel Art Gallery, and as a result was awarded a travel bursary to visit America for two weeks in the summer. The larger paintings he made following his visit to New York and Vermont in the early summer of 1964, of which 11.7.64 is characteristic, operate as fields of colour on which small shapes near-square or oblong blocks are often pushed to the edge of the canvas. The experience of meeting and seeing work by Mark Rothko and Barnett Newman, as well as the key practitioners of post-painterly abstraction, was liberating for Hoyland as he explored a physical use of colour and open composition that he had first recognised in the sculpture of Anthony Caro, an artist with whom he found himself aligned. Ellsworth Kelly born 1923 Red White 1966 Acrylic paint on canvas support: 1654 x 2295 x 29 mm Presented by the American Fund for the Tate Gallery, courtesy of Douglas S Cramer 2013 T14156 In Red White, two stacked bulbous red protrusions stretch horizontally from the left to the right of the canvas, just touching its edge. Kellys painting challenges traditional ideas of figure/ground relationships as the dominant red forms can be seen as alternately lying in front of or behind the white area. The curves are not derived from geometry but are taken from shapes discovered in the real world, a process of transfer Kelly had employed since his time in Paris in the immediate post-war period. With the stark contrast between red and white similar to Tates other early painting, Broadway 1958 Kelly sets up a characteristically powerful visual experience for the viewer. Emilio Prini born 1943 Fermacarte 1968 10 photographs, gelatin silver print on paper, weights and string Overall display dimensions variable Presented by Ruben Levi 2014 T14186 Emilio Prini was born in Stresa, Verbano, Italy, and was included in the first arte povera shows. In 1968 he exhibited a work called Fermacarte (Paperweight) in which he laid down lead weights on a stack of five photographs of the artist moving through spaces. Tate has been gifted the second version of Fermacarte, dating from 1969, which is the first work by Prini to enter any museum collection. The artist considers it an open work, with no fixed configuration. In the installation worked out in collaboration with Prini for a display at in 2015, a stack of ten large-scale photographs lie beside 230 kilograms of lead weights: bars, plastic sacks of shot, rolled sheets and bricks. The top photograph in the stack shows the artists partner, Grazia Austoni, carrying their son on the streets of Genoa, although this topmost image could be replaced by another of the group in a subsequent configuration of the work. The massive bulk creates a sense of heaviness that is countered by the motion of the bodies, fleetingly caught as they walked past the camera lens. Gego (Gertrude Goldschmidt) 19121994 Horizontal Square Reticularea 71/10 1971 Reticularea cuadrada horizontal 71/10 Steel rods and metal joints 700 x 1400 x 700 mm Purchased with assistance from Tate International Council, the Tate Americas Foundation, and the Latin American Acquisitions Committee 2014 T14115 Horizontal Square Reticularea 71/10 comes from a small series of Square Reticulareas from the early 1970s. Gego developed these in dialogue with the environmental Reticularea 1969, a room-scaled installation of wire structures formed from triangular units. Historian Monica Amor has compared the Square Reticulareas with the earlier work: The triangular module of the first Reticularea was substituted by a grid which seemed on the verge of constant deformation as the flexible connections allow for unexpected folding and distortions. The historian Iris Peruga has described these works as based on a potentially infinitely expanding pattern of squares or cubes and stressed the way in which they address the body of the viewer: After Gego decided to stop making environmental Reticulareas, she continued to give the name Reticularea to all of her works that were based on the idea of the mesh or net, even though they remained individual non-environmental pieces Given their ability to grow and combine, these works can be considered potential environmental works, in fact, they were frequently shown in groups, inviting the spectator to walk among them. David Hockney born 1937 George Lawson and Wayne Sleep 19725 Acrylic paint on canvas support: 2125 x 3008 x 40 mm Presented by the artist 2014 T14098 George Lawson and Wayne Sleep 1972"5 is one of the last paintings from a sequence of double portraits that occupied David Hockney between 1968 and 1977, and shows the antiquarian book dealer George Lawson sitting on a stool at a clavichord, turning towards the open window to the left of the painting. Immediately to the left of the clavichord and adjacent to the window stands the ballet dancer Wayne Sleep, leaning against a doorframe in a casual contrapposto pose that is echoed by the curtains pulled to the side of the window. The painting contains many of the themes that occupied Hockney in tackling the subject of a double portrait, foremost among which is a narrative of friendship and a depiction of a relationship, here as a form of annunciation. Following on from Mr and Mrs Clark and Percy 19701 (Tate T01269), Hockney had set out to paint the figures in a much more naturalistic way than before, yet he was also concerned to unite the composition by depicting the relationship as one framed by the atmospheric London light that illuminated first Sleep and then Lawson, fading towards the right-hand corner of the room. However, despite a number of attempts, the painting was to remain unfinished, revealing Hockneys struggle with his changing attitude to naturalism. Thomas Joshua Cooper born 1946 Ritual Object (Message to Donald Judd and Richard Serra), Derbyshire 1975 Photograph, gelatin silver print on paper 120 x 170 mm Presented by Tate Members 2014 P81148 Ritual Object (Message to Donald Judd and Richard Serra), Derbyshire 1975 documents a small rectangular object situated on the ground within an area of long grass. The objects uncompromising geometry contrasts with the softness of the surrounding vegetation. The enigmatic box recalls the minimalist work of the two American artists named in the title. This is one of a number of photographs by Thomas Joshua Cooper whose titles reveal the figures who have influenced and inspired his work. They depict landscapes in a range of locations, which are identified in the titles, from Derbyshire to Ayrshire to Aix-en-Provence. The figures referred to are painters, sculptors, photographers and poets, both precursors and peers. In his titling, Cooper implies that the artist is always in dialogue with others when making work, something that he characterises as an ongoing conversation. Cooper frequently composes his photographs so that no horizon line is visible, resulting in an experience of immersion in the depicted landscape. This approach links him to the tradition of Romantic painting with its concerns to convey a sense of the sublime. Chris Killip born 1946 Woman Walking Past Blast Furnaces, Grangetown, Teeside 1976, printed 201213 Photograph, gelatin silver print on paper 400 x 496 mm Purchased with funds provided by the Photography Acquisitions Committee 2014 P81023 Chris Killip was at the forefront of a generation of photographers interested in documenting the political and social concerns of working-class communities in the 1970s and 80s. He was also influential in presenting photography as an art form, both as the co-founder and director of Side Gallery in Newcastle. Woman Walking Past Blast Furnaces, Grangetown, Teeside is from the series General North East, which was made between 1975 and 1979. It depicts a woman wearing a headscarf, a long overcoat and boots making her way past the huge furnaces as they belch out clouds of smoke, filling the sky above. Killips series of photographs taken in the north-east of England document the industrial decline of its manufacturing towns and docks, and the social disintegration and hardship that ensued. The raw reflection of the cultural and economic circumstances gives these photographs a powerful political undercurrent. Killips practice often involved immersing himself in the lives of the people he photographed, building relationships over long periods of time. Dia al-Azzawi born 1939 Sabra and Shatila Massacre 19823 Ink and wax crayon on paper mounted on canvas displayed: 3000 x 7500 mm Purchased with assistance from Tate Members, Tate International Council, Tates Middle East North Africa Acquisitions Committee and the Basil and Raghida Al- Rahim Art Fund 2014 T14116 Sabra and Shatila Massacre 19823 is a monumental work in ballpoint pen and pencil on paper, constructed in six sections and affixed to canvas for support. The work was made in response to the massacre of Palestinian refugees in the Sabra and Shatila camps in Beirut, Lebanon, on 1618 September 1982 undertaken by Christian Lebanese Phalangists while the camps were under the guard of the Israeli Defence Force. Working from his imagination rather than from records or images, al-Azzawi depicts scenes of violence and chaos in a semi-abstract style with a slightly flattened perspective. Stylistically, Sabra and Shatila Massacre owes a debt to Pablo Picassos Guernica 1937 (Museo Reina Sofia, Madrid), although al-Azzawis work, which is densely packed with body parts, architectural and domestic fragments, is considerably more claustrophobic. Lubaina Himid born 1954 The Carrot Piece 1985 Acrylic paint on wood, card, string 2430 x 3350 mm Purchased using funds provided by the 2014 Outset/Frieze Art Fair Fund to benefit the Tate Collection 2015 T14192 The Carrot Piece 1985 comprises two individual painted figures propped up against a wall. On the left, a white man balances on a unicycle and dangles a carrot towards a black woman, who stands with her back to the man but turns to face the carrot with a wary expression. In this work Himid subverts the evocations of power and male dominance by marshalling the idiom of the carrot and stick to lay bare patriarchal systems of punishment and reward. The artists expansive references in creating this sardonic work include commedia dellarte, contemporary European dance, West African masquerade and the work of fellow British artists Edward Burra and Bridget Riley with the latters intensely coloured Egyptian palette of the same period in evidence. Overall, the composition shares numerous hallmarks with James Gillays print Sandwich-Carrots! dainty Sandwich-Carrots 1796, from the rosy-cheeked mans suggestive approach to an unsuspecting young woman, her mistrustful backward glance and even the placement of her pointed right foot. In Himids work the woman, wearing a burgundy dress, eschews the intended temptation of the carrot, cradling in her right arm an orange gourd-shaped container, filled to the top, and in her left hand, gripping a horn of plenty. The provisions she carries are, in the artists own words, inherited wisdom, education and love. Rose Finn-Kelcey 19452014 Bureau de Change 1987 Coins, wooden floor, spotlights, viewing platform, closed-circuit TV system and security guard Overall display dimensions variable Presented in memory of Adrian Ward-Jackson by Weltkunst Foundation 2013 T14259 Bureau de Change 1987 is an installation that frames using the institutional language of care, protection and surveillance a large rendering of a Sunflowers painting by Vincent Van Gogh that the artist constructed using 1,000 of British coinage. Rose Finn-Kelceys initial motivation for making the work was the sale at auction of a Sunflowers painting in 1987 to the Yasuda Insurance Company of Japan for the then record price of 24.5 million. Her realisation of the work, however, was also fuelled by her understanding of the changing power and meaning that an image can have and how this can be altered simply through the action of the market. The title for the installation, the circulation of the coins that make the image for the installation, and the sale of the painting, all depict an idea of exchange value, an idea that is embodied in the image of Sunflowers being sold at auction. Just as the painting assumed a greater financial value, so it accrued another layer of meaning. Dan Flavin 19331996 Untitled (to Don Judd, colorist), 15 1987 Fluorescent tubes and metal Each: 1220 x 1220 mm ARTIST ROOMS: Tate and the National Galleries of Scotland. Lent by the Artist Rooms Foundation 2013 AL00350 Dan Flavins Untitled (to Don Judd, colorist), 15 1987 comprises five sculptures, each of which form a T-shape composed of four vertical and two horizontal strip lights. The five sculptures are differentiated by the colour of the neon tubes. Arranged evenly along a wall, the works typify the artists interest in seriality. Following the creation of his breakthrough work, the diagonal of May 25, 1963 (to Constantin Brancusi) 1963, Flavin chose to dedicate all his subsequent sculptures to other people. Flavin met the artist Donald Judd in 1962 and they remained close friends throughout their lives (Judd even named his son Flavin in 1968). Flavins dedication to Judd alludes to their joint interest in using ready-made industrial colours. In other sculptures made around the same time Flavin placed different coloured tubes next to one another, or positioned one tube so that it faced the wall adjacent to another that faced outwards. In this way Flavin was able to mix colours, which is something that Judd never did. Untitled (to Don Judd, colorist), 15 pays tribute to Judds use of colour, since the different colours of the five vertical columns are kept apart. Louise Bourgeois 19112010 Couple I 1996 Fabric, hanging piece 2032 x 685 x 711 mm ARTIST ROOMS: Tate and the National Galleries of Scotland. Lent by the Artist Rooms Foundation 2013 AL00344 Couple I is a stuffed, suspended fabric work made in 1996, one of a significant series of soft sculptures produced by Bourgeois in her later years. Fabricated from a patchwork of cut and assembled pieces of textile and old clothing that the artist had kept for many decades such as terry-cloth towelling, heavy flannel, cotton ticking, felt, socks and old stockings it depicts two headless figures which appear to merge together as one is looped between the legs of the other. Locked in an embrace or the act of coupling, the sex of each of the figures is signified by the elements of clothing from which they are fabricated: the man by a blue and white pin-striped shirt and the woman by a white lace collar, affixed to one of the artists own blouses. Addressing the complexity of human relationships, the sculpture hangs from the ceiling in what the artist terms a state of uncertainty or ambivalence, the rudimentary metal hook contrasting starkly and unnervingly with the soft padded flesh. Richard Wright born 1960 No Title 2002 Gouache on wall Overall display dimensions variable Purchased with funds provided by the Nicholas Themans Trust 2010, accessioned 2015 T14205 Richard Wright creates subtle and exquisite wall paintings that respond directly to the architecture in which they are created. Often placed in discreet locations, they combine graphic imagery and intricate patterning from sources as varied as medieval painting and typography. No Title 2002 is positioned in a corner of a Tate Britain gallery; it is divided equally into two halves by the vertical line created by the meeting of two walls, evoking an intricate Rorschach test. Wrights profound understanding of art and its history is reflected in his diverse imagery, from gothic iconography and baroque ornamentations to minimalist patterns and graphics. His wall paintings can occupy whole rooms to create a visceral impact. Others, subtle and delicate, claim a more modest existence alongside the edges of a wall or cornice, or perhaps on the ceiling. As Wright invents alternative spatial arrangements, solid structures can look broken up, reconfigured, or seem transparent and fluid. Elaine Sturtevant born 1930 Trilogy of Transgression 2004 Three channel video on three monitors, colour 1 min 45 sec on 30 min loop Purchased using funds provided by the 2013 Outset/ Frieze Art Fair Fund to benefit the Tate Collection 2014 T14122 Elaine Sturtevant has been working with appropriation since the 1960s, becoming known for revisiting the work of artists like Marcel Duchamp, Roy Lichtenstein and Andy Warhol. Sturtevants work explores questions of authorship, style and the creation of art, repeating work rather than copying it in the strictest sense. In Trilogy of Transgression she employs three seemingly unrelated films: the images show, from left to right, images of Minnie Mouse, an abstract and pixilated form, and an inflatable female sex doll. The work deals with the popular, gendered and sexualised imagery that characterises television and other mass media. Trilogy of Transgression borrows from the transgressive language of the US artist Paul McCarthy (born 1945), and likewise combines imagery associated with popular US cartoons with advertisements and sexually explicit yet absurd imagery. Sturtevants works attack mass media representations, concepts of originality and banality, but also borrow from McCarthys parodies of the gendered image of the artist. Here Sturtevants evocation of sex as a repetitive action also recalls Marcel Duchamps central theme of perpetually unfulfilled desire. Cy Twombly 19282011 Untitled (Bacchus) 20068 Acrylic paint on canvas 3175 x 4683 mm Presented by the Cy Twombly Foundation 2014 T14081 Untitled (Bacchus) 20068 is a large-scale acrylic painting on canvas that depicts euphoric loops of red set against a fleshy canvas background. It forms part of a wider body of work on the theme of the ecstasy and insanity of the Roman god (of which Tate owns three paintings) and was showcased in the final room of the artists retrospective at in 2008. The title of the series, Bacchus, Psilax, Mainomenos, refers to the dual and almost opposing nature of the eponymous subject, oscillating between sensual release and debauchery bordering on the nihilistic. This rupture is echoed in the execution of the painting, the surface of which ricochets between fluid brushstrokes that soar up the canvas and floods of paint that seep back down. Bacchus was both deity of wine and god of abandon and revelry, whose followers celebrated rites by devouring raw animal flesh; therefore the vermilion strokes are symbolic and visceral. They were produced, in accordance with the canvass scale, with a brush affixed to the end of a pole. Sharon Hayes born 1970 Everything Else Has Failed! Dont You Think Its Time For Love? 2007 Audio with 5 works, paint on paper Overall dimensions variable Purchased with funds provided by The Tate Americas Foundation (North American Acquisitions Committee) 2014 T14132 Everything Else Has Failed! Dont You Think Its Time for Love? 2007 is an installation based on a series of performances conducted by the artist outside the UBS headquarters in New York in 2007. Every day for five days Hayes went into the street and read out a letter to an anonymous lover. Revealing the difficulties faced by a relationship at a time of war, the letters express the writers anger with her government and her sense of frustration with the inefficacy of her opposition. Love and yearning come up again and again, but despite imploring her lover, there is a sense that the war has caused anxieties that have driven the couple apart. The sexual orientation of the relationship is not always explicitly revealed in the letters, but Hayes is dressed in a way associated with New Yorks LGBT community. With her semi-formal attire, she also wanted to look like someone who might work in a temporary role at the bank. Speaking as a lesbian on the street outside a corporate headquarters, Hayess performance asks what space there is for politics in both private and public realms. Geoffrey Farmer The Last Two Million Years 2007 Paper cut-outs from selected pages of the history book The Last Two Million Years, foamcore plinths, perspex frames, marble and incense Overall display dimensions variable Presented by the Tate Americas Foundation (North American Acquisitions Committee) 2013 T14227 Geoffrey Farmers The Last Two Million Years is a substantial installation consisting of cut-out paper figures displayed on a series of foam core plinths and in thirty-two framed wall-mounted collages. To make the work Farmer cut out every image from a 500-page anthology of human history, titled The Last Two Million Years, which was published in 1973 by Readers Digest. The arrangement of the images in Farmers installation does not follow the books traditional chronology but is instead made up of subjective and allusive sequences that disrupt conventional notions of historical agency and linear time. For example, one long, narrow plinth presents a frieze of historical figures arranged according to the size of the illustrations. In other sections images of landscapes provide backdrops for imaginary encounters between characters from vastly different eras and regions of the world. Farmers presentation draws attention to the infinite number of ways in which knowledge can be ordered, while his anachronistic juxtapositions seem to challenge dominant modes of historical understanding. Dayanita Singh born 1961 Go Away Closer 2007 Black and white photographs, 40 silver gelatin prints on paper, wood frames with museum glass and wooden display structures 40 photographs, silver gelatin prints on paper and 2 wooden cabinets. Each 250 x 250 mm image, each: 245 x 245 mm object: 1035 x 452 x 456 mm object: 1033 x 453 x 452 mm Number 7 in an edition of 7 Purchased with funds provided by Tates South Asia Acquisitions Committee, Tate Members and Tate International Council 2014 T14176 Go Away Closer 2007 is a series of black and white photographs by Dayanita Singh taken between 2000 and 2006 which are presented in a bespoke wooden display cabinet. The photographs themselves are square, a format preferred by Singh for the focus and composition it allows. In this particular sequence descriptive information is deliberately withheld, and the order of the images does not follow an obvious thematic or narrative progression. Instead the works are linked by mood and stylistic sensibility, ranging from casual portraits to atmospheric interiors. Empty theatres and museum displays appear, suggesting an absent audience and prefiguring the artists interest in the museum as a space of memory. Singh also designed the display cabinets, which she considers as personal museums, allowing for both artistic and curatorial interventions. While evoking a cabinet of curiosities, the display case in Go Away Closer also becomes a device that allows the artist to rework her own narrative structures and play on the idea of distance in the title, which refers to the passage of time and the ephemeral nature of memory. William Kentridge born 1955 I am not me, the horse is not mine 2008 Eight channel video 6 min Overall display dimensions variable Presented to Tate and the Israel Museum, Jerusalem, by Wendy Fisher and Goodman Gallery, Johannesburg and Cape Town 2011, accessioned 2015 T14213 I am not me, the horse is not mine 2008 is an installation of eight film projections, which were completed as part of the artists preparatory work for his 2010 production of Dmitry Shostakovichs 1928 satirical opera The Nose for the Metropolitan Opera, New York. It is based on a story of the same title by Nikolai Gogol from 1837 which tells of an official whose nose leaves his face and develops a life of its own. The films are accompanied by a soundtrack composed by Phillip Miller and are titled as follows: His Majesty Comrade Nose, Prayers of Apology, A Lifetime of Enthusiasm, Country Dances I (Shadow), Country Dances II (Paper), That Ridiculous Blank Space Again (A One-Minute Love Story), Commissariat for Enlightenment and The Horse is Not Mine. The overall title of the installation, I am not me, the horse is not mine a Russian peasant saying used to deny all guilt originates from a transcript of meetings of the plenum of the Central Committee of the Communist Party of the Soviet Union in which Nikolai Bukharin (18881938) argued for his life. According to Kentridge, this work was conceived as an elegy for the formal artistic language that was crushed in the 1930s and for the possibility of human transformation that so many hoped for and believed in, in the revolution. Sheela Gowda born 1957 Behold 2009 Human hair and stainless steel car bumpers Overall display dimensions variable Purchased with funds provided by the South Asia Acquisitions Committee 2014 T14118 Behold 2009 consists of two contrasting components made from everyday materials: twenty steel car bumpers, suspended from ropes of coiled and knotted human hair. This sculptural installation has the potential volume to fill a single gallery, but can also be installed against just one long wall. Four thousand metres of dense black hair wrap around and suspend the chrome bumpers, becoming the structure and support for the work. The linear arrangement hints at abstract drawing, while the body is suggested by spheres and loops reminiscent of heads and entrails. Gowda is known for her use of natural and locally specific materials, which have everyday or ritual significance in India. In the south of the country for example, talismans made from human hair are knotted around the bumpers of vehicles to ward off accidents and bad luck. The hair is sourced locally devotees at a local temple shave their heads when wishes are fulfilled. By expanding these materials to a colossal, immersive scale Gowda highlights the incongruity of these gestures and the tensions between the human body and the built or manufactured environment. Wilhelm Sasnal born 1972 Gaddafi 2 2011 Oil paint on canvas 700 x 900 mm Presented by the Roman Family Collection 2014 T14240 This is part of series of three paintings based on digital images of the violent death of the former Libyan dictator Muammar Gaddafi on 20 October 2011. Seen together, these works exemplify Sasnals conceptual approach to painting, which is determined by the daily questions of what to paint next, how to paint, in what style and on what scale. Gaddafi 2 depicts a group of rebel fighters looking at and taking images of what must be assumed to be the corpse of the deposed dictator. The figure on the right is caught in the process of videoing the scene, which forms the central action of the image. The mediation of the event, first through the video footage which was broadcast on the news worldwide, then through the translation of some of these images into painting, can thus be seen as the central subject of the work. It is rare for Sasnal to make the relationship of his paintings to digital imagery this explicit, whereas the dramatic cropping, the stark palette and the obscured facial features are all highly typical of his approach. John Akomfrah born 1957 The Unfinished Conversation 2012 Video, high definition, 3 projections, colour and sound 45 min Purchased jointly by Tate and the British Council with assistance from the Art Fund 2014 T14105 In the multi-layered installation The Unfinished Conversation, the British artist, filmmaker and writer John Akomfrah explores the personal archive of the influential and acclaimed cultural theorist Stuart Hall, for whom identity and ethnicity are not fixed but are the subject of an ever-unfinished conversation. Arriving in Britain from Jamaica as a student in 1951, Hall became one of the founding figures of the new left and one of Britains foremost public intellectuals. Unfolding over three screens and overlaid with a soundtrack, the video charts Halls discovery of a personal and political identity, interweaving his biography with documentary footage of historical events and references to William Blake, Charles Dickens, Virginia Woolf and Mervyn Peake, jazz and gospel. Identifying with Hall, Akomfrah has remarked, To hear Stuart Hall speak about what it is to be different in society ... gave you a sense not simply of self, but of agency, of what you could do with your life. Goshka Macuga born 1967 Death of Marxism, Women of All Lands Unite 2013 Trevira, cotton, wool and two Lycra costumes 5600 x 2900 mm Number 4 in an edition of 5 plus 2 artists proofs Purchased with funds provided by the Russia and Eastern Europe Acquisitions Committee 2014 T14187 Death of Marxism, Women of All Lands Unite 2013 is a black and white tapestry accompanied by two Lycra costumes to be worn by models taking part in a performance, which is also a part of the work. The tapestry depicts a group of nude women walking around the funerary monument to Karl Marx in Highgate Cemetery, London. The work was inspired by the artists research into the archive of Miroslav Tich (19262011), the Czech photographer who created an unorthodox body of work focused on the female figure. The composition, like Macugas other tapestries, is based on a photographic collage made by the artist, who often uses archival materials and sources to expose hidden and forgotten aspects of history. Death of Marxism, Women of All Lands Unite provides a field against which the performance which involves women reading and discussing Marxist texts takes place, raising questions about the legacy of Marxism and the position of women in society. Cathy Wilkes born 1966 Untitled (Possil, At Last) 2013 Mannequins, wooden stools, card boxes, linen, cotton, glass bottles, ceramic pieces and other materials Overall display dimensions variable Presented by Tate Members 2014 T14119 Untitled (Possil, At Last) 2013 is a multi-part installation that was first exhibited at the Venice Biennale in 2013. It incorporates five handmade mannequin-type figures, dressed in nineteenth-century fabric, that have been positioned alongside other historic materials arranged and ordered on the ground, including assorted items of furniture and artefacts drawn from the Possilpark pottery in the deprived north Glasgow district. The plaintive words At Last can be found carved in a childlike script onto an old wooden tray and are also repeated on a scrap of fabric that lies on the floor among the other objects arranged there. For Wilkes the installation suggests a sense of mortality that is measured and recognised by what she explains as a mystical relationship to objects, yet one that is resistant to any single reading. This is in part signalled by a fluidity of identity registered in the figures in the installation, which act as stand-ins for the artist, recall the users of the relics from Possilpark that are arranged around them, and also act as surrogate reflections for the figure of the viewer who is both engaged with yet separated from the experiences that the installation might suggest. Margaret Mellis 1914-2009 Personal papers of Margaret Mellis and the extant records of her second husband, Francis Davison 1930s1990s Part-purchased/presented by Telfer Stokes, 2014 TGA 20158 Margaret Mellis was one of the key artists who moved to St Ives living at Little Parc Owles in Carbis Bay just before the Second World War. With her first husband, the critic Adrian Stokes (whom she met in 1936 and married in 1938), Mellis encouraged others such as Barbara Hepworth, Ben Nicholson and Naum Gabo to move to the area. The papers comprise personal documents, voluminous correspondence from many artists living and working in St Ives, writings, notebooks, drawings and sketchbooks, personal photographs and photographs of works, audio-visual material, press cuttings relating to Margaret Mellis and drawings and papers relating to Francis Davison (her second husband), including some correspondence to and from him. The acquisition cements Tate Archives reputation as the centre for the study of this period of art and of artists living and working in and around St Ives. The papers complement the personal archives, held at Tate, of Barbara Hepworth, Naum Gabo, Ben Nicholson and John Wells as well as of many smaller collections relating to artists represented in Melliss papers. Hlio Oiticica 19371980 Six handwritten postcards and five typewritten letters, all signed by hand, sent by Hlio Oiticica to Jill Drower 19691972 Purchased with funds provided by Tate Americas Foundation (Latin American Acquisitions Committee), 2014 TGA 201418 This group of postcards and letters was sent by Hlio Oiticica to Jill Drower, a member of the Exploding Galaxy from 1967 whose first introduction to avant-garde art was at Signals London, the gallery that brought many Latin American artists to show in London during its short history (19646). A solo exhibition planned for Oiticica at Signals London was cancelled when the gallery closed. Oiticica went on to have a solo exhibition at the Whitechapel Art Gallery in 1969, curated by the critic Guy Brett, where he first met Drower and became a close friend. The letters were written in the years following the exhibition when Oiticica went first to the USA, then France and Brazil before returning to New York. The letters and postcards address aspects of Oiticicas travels, his relationships with various key friends and collaborators of these years including Lygia Clark, and the reception of their work. They also include accounts of his participation in important exhibitions such as Information, curated by Kynaston McShine at the Museum of Modern Art, New York, in 1970. FINANCE & STATISTICS The popularity of Henri Matisse: The Cut-Outs and other exhibitions such as The EY Exhibition: Late Turner Painting Set Free have contributed to a record-breaking year. This appeal is evident online too as Tates digital audiences have gone from strength to strength. Tate Members has also seen a record year, achieving the highest levels in its history, a further sign of Tates appeal and support for which it is grateful. Meanwhile, Tate continues to loan work nationally and internationally, spreading the benefit of the collection nationwide and contributing to the UKs profile around the world. Audiences Total visitor figures 2012/13 7,746,953 2013/14 7,036,490 2014/15 7,904,121 Visitor figures 2014/15 Tate Britain 1,373,489 5,702,374 Tate Liverpool 597,768 Tate St Ives 230,490 TOTAL 7,904,121 Tate Members 2012/13 105,630 2013/14 104,054 2014/15 115,855 Online visitor figures Google+ 1,532,186 Twitter followers 1,401,645 Facebook likes 725,824 Instagram 167,000 Pinterest 846,146 TATE WEBSITE 13,432,999 Acquisitions of artworks Value of purchased works of art 4.2m Value of donated works of art 72.7m Works by UK artists 567 Works by artists from abroad 716 Loans of artworks Venues Artworks UK 152 1,017 International 121 623 Total 273 1,640 Learning Self-directed visits by visitors under 16 in formal education 204,560 Visitors under 16 participating in on-site organised activities 195,960 Children participating in off-site learning activities 374,674 Adults participating in on-site organised learning activities 496,546 Adults participating in off-site learning activities 99,869 Total income Capital 52.4m Operating 91.7m Collections 77.4m Total 221.5m Grant-in-Aid from Parliament, provided through the Department for Culture, Media and Sport, is the bedrock for Tates funding. It is the platform from which other forms of income are generated. However, Tate like all museums and galleries in the UK has seen a continued decline in public subsidy that is likely to continue in the coming period. Maintaining performance in such circumstances is a challenge, but Tate is grateful for the continued generosity of its supporters and audiences and works throughout the year to generate revenues for itself. Operating expenditure Charitable activities: public programming 37.3m Trading costs 25.9m Charitable activities: support costs 16.6m Other costs for generating funds 4.1m Costs of generating voluntary income 2.6m Other costs 1.0m Governance costs 0.7m Investment management costs 0.02m Total 88.2m The expenditure shown on this chart covers the costs of fulfilling our charitable and statutory purpose. It comprises the research and care of the collection, the public programme of exhibitions, learning and outreach. It also includes the associated and necessary costs of Tates operations such as fundraising, publicity, trading, governance and support functions. Operating income Self-generated income Grant-in-Aid Total 2012/13 31.5m 56.4m 87.9m 2013/14 30.4m 53.2m 83.6m 2014/15 29.6m 62.1m 91.7m Capital additions Works of art Works of art Other fixed Total purchased donated assets 2012/13 5.7m 18.5m 50.1m 74.3m 2013/14 29.3m 4.3m 60.5m 94.1m 2014/15 4.2m 72.7m 47.4m 124.3m Tate's success grows from the remarkable generosity and support of donors of all kinds, among them those who donate works of art for the benefit of the nation. This year saw a number of outstanding donations, including those from the Cy Twombly Foundation. Following the completion in 2013/14 of the new Tate Britain, the focus of capital work has shifted to the completion of the new as we prepare to welcome the public in 2016. MEMBERS OF COUNCILS AND COMMITTEES OF THE BOARD OF TRUSTEES OF THE TATE GALLERY As of 31 March 2015 Audit Committee Lionel Barber Mala Gaonkar (Chair) Raif Jacobs Luke Mayhew Charles Roxburgh Collection Committee Professor Briony Fer Maja Hoffmann Lisa Milroy Emmanuel Roman Hannah Rothschild (Chair) David Taylor Ethics Committee Dame Helen Alexander, DBE Lionel Barber (Chair) Monisha Shah Jules Sher, QC Finance and Operations Committee Lionel Barber The Lord Browne of Madingley, FRS, FREng Mala Gaonkar (Chair) Vivian Hunt Raif Jacobs Luke Mayhew Paul McHale Charles Roxburgh Freedom of Information Appeals Committee Monisha Shah (Chair) Gareth Thomas Governance and People Committee The Lord Browne of Madingley, FRS, FREng (Chair) Paul McHale Elisabeth Murdoch Monisha Shah Investment Committee John C Botts, CBE (Chair) Simon Palley Christopher Stone Tate Britain Advisory Council Gabrielle Hase Edward Harley Andy Hobsbawm Patricia Lankester Lisa Milroy Professor Frdric Oge Dame Seona Reid, DBE (Chair) Elizabeth Sims Dr Andrew Stephenson Wolfgang Tillmans Tate Liverpool Advisory Council Dr David Bell Tom Bloxham, MBE (Chair) Elaine Bowker Professor Juan Cruz Bice Curiger Paul Grover Mark Harrison Robert Hough, CBE Emma King Councillor Wendy Simon Professor James Thompson Alan Yates Advisory Council Jeffrey Berman Professor Briony Fer Lyn Goleby Vivian Hunt Ruth Mackenzie, CBE Elisabeth Murdoch (Chair) Monisha Shah Mary Ann Sieghart Bob & Roberta Smith Stephen Witherford Project Board Christopher Jonas (Chair) Roger Madelin Paul Morrell Keith Salway Tate St Ives Advisory Council Councillor Tim Andrewes Malcolm Bell Councillor Neil Burden Professor Anne Carlisle Tamsin Daniel Councillor Julian German Sheila Healy Councillor Colin Nicholls Abigail Reynolds Neil Scott Councillor Joan Symons Gareth Thomas (Chair) Mark Titchner Roger Tonkinson Michael Uva Tate Foundation Trustees and Honorary Members Abigail Baratta Joseph P Baratta II* Victoria Barnsley, OBE John Botts, CBE* Mrs James Brice The Lord Browne of Madingley, FRS, FREng Susan Burns Christina Chandris Melanie Clore Sir Howard Davies Dame Vivien Duffield, DBE George Economou Noam Gottesman Oliver Haarmann Peter Kellner The Hon Mrs Rita McAulay Ronald McAulay Scott Mead* Mandy Moross Elisabeth Murdoch Lord Myners of Truro, CBE Marilyn Ofer Simon Palley* Franck Petitgas (Chair)* John Porter Sir John Ritblat Lady Ritblat Emmanuel Roman* Dame Theresa Sackler, DBE The Rt Hon Sir Timothy Sainsbury Sir Anthony Salz* Sir Nicholas Serota* Peter Simon Jon Snow Lord Stevenson of Coddenham, CBE* Mercedes Stoutzker John Studzinski, CBE Ian Taylor Lance Uggla Sir David Verey, CBE Anita Zabludowicz * Executive Trustees Corporate Advisory Group Jonathan Bloomer Sir Ian Cheshire Martin Cook Dr Chris Gibson-Smith Richard Gnodde Jan Hall Jenny Halpern Prince Janice Hughes Charles Rifkind Roland Rudd (Chair) Sir Anthony Salz Jan Shawe Lord Stevenson of Coddenham, CBE Tate Patrons Executive Committee Ghazwa Mayassi Abu-Suud HRH Princess Alia Al-Senussi Ryan Allen Katherine Francey Stables Kate Gordon Midge Palley (Chair) Valerie Rademacher Alex Sainsbury Tate Americas Foundation Trustees Estrellita Brodsky James Chanos Henry Christensen III Tiqui Atencio Demirdjian (Ex-officio) Jeanne Donovan Fisher (Chair) Ella Fontanals-Cisneros Glenn Fuhrman Noam Gottesman Robert Rennie (Ex-officio) John Studzinski, CBE Marjorie Susman Juan Carlos Verme Tate Members Council Brian Chadwick Chris Chinaloy Hannah Collins Dominic Harris Suwin Lee Rachel Lloyd Amanda Pinto, QC Miranda Sawyer Neil Scott Jon Snow (Chair) Simon Casimir Wilson, OBE Alan Yates Tate Enterprises Ltd Directors Victoria Barnsley, OBE Gabrielle Hase Luke Mayhew Kerstin Mogull Charles Roxburgh Monisha Shah Jeroen Schjuit Gareth Thomas (Chair) Stephen Wingfield Laura Wright Donations, Gifts, Legacies and Sponsorships Tate would like to thank all the individuals, trusts, foundations and organisations who have so generously supported us this financial year. We would particularly like to thank the following individuals and organisations who have supported our programmes and exhibitions, the collection and capital projects by providing financial support, giving their time and expertise or acting as ambassadors and advocates for our work. Corporate Supporters Amsterdam Trade Bank Bank of America Merrill Lynch Bloomberg BMW BP Christies Credit Suisse Deutsche Bank AG EY Hanjin Shipping Hildon Ltd Hyundai Motor Laurent Perrier Le Mridien Markit Sothebys and those who wish to remain anonymous Corporate Members AIG Bank of America Merrill Lynch BCS Consulting Citi Clifford Chance LLP CREATIVE HEAD Deutsche Bank EY Finsbury GAM (UK) Limited HSBC Hyundai Card JATO Dynamics The John Lewis Partnership Kingfisher plc Linklaters McGuirewoods London LLP The Moodys Foundation Morgan Stanley Native Land and Grosvenor Oliver Wyman Pearson Saatchi & Saatchi Slaughter and May The Brooklyn Brothers Tishman Speyer Unilever Wolff Olins and those who wish to remain anonymous Tate Britain and Benefactors The Estate of Hamed Abdalla Sirine and Ahmad Abu Ghazaleh Ghazwa and Walid Abu-Suud The Ahmanson Foundation The Basil and Raghida Al-Rahim Art Fund HRH Princess Alia Al-Senussi Abdullah Al Turki Fernando Luis Alvarez The Ampersand Foundation The Art Fund Arts and Humanities Research Council Arts Council England Artworkers Retirement Society The Estate of Mr Edgar Astaire Abigail and Joseph Baratta Lionel Barber The Barker-Mill Foundation The Barns-Graham Charitable Trust Corinne Bellow Charity bet365 Foundation Blavatnik Family Foundation Lauren and Mark Booth Ruth Boswell Frances Bowes Pierre Brahm The Deborah Loeb Brice Foundation The Rory and Elizabeth Brooks Foundation The Lord Browne of Madingley, FRS, FREng Frances Carey The Estate of Mrs Rachel Caro ARIBA Mr and Mrs Nicolas Cattelain Marc Chaimowicz John and Michael Chandris, and Christina Chandris James Chanos Trustees of the Chantrey Bequest Henry Christensen III Clore Duffield Foundation The Clothworkers Foundation Borja Coca Robert T Coffland R and S Cohen Foundation The Estate of Dr Michael Compton Paul Cooke Paul and Louise Cooke Endowment Corvi-Mora Alan Cristea Gallery Bilge Ogut-Cumbusyan and Haro Cumbusyan Thomas Dane Ltd Dimitris Daskalopoulos The Roger De Haan Charitable Trust Ago Demirdjian and Tiqui Atencio Demirdjian Department for Culture, Media and Sport The Estate of F. N. Dickins Sir Harry and Lady Djanogly Anthony dOffay George Economou Stefan Edlis and Gael Neeson Edward and Maryam Eisler John Ellerman Foundation Carla Emil and Rich Silverstein English Partnerships European Union Ted Evans Eykyn Maclean Anthony Fawcett The Estate of Mary Fedden and Julian Trevelyan Ronald and Frayda Feldman Jeanne Donovan Fisher Mrs Donald Fisher Wendy Fisher Jay Franke and David Herro The Estate of Lucian Freud Frith Street Gallery Mala Gaonkar Garcia Family Foundation The Gatsby Charitable Foundation Victoria Gelfand Magalhes Annet Gelink J Paul Getty Jr Charitable Trust The Ghandehari Foundation Thomas Gibson Thomas Gibson in memory of Anthea Gibson Greater London Authority Millie and Arne Glimcher Nicholas and Judith Goodison Marian Goodman Gallery Lydia and Manfred Gorvy Noam Gottesman The Granville-Grossman Bequest Sarah and Gerard Griffin The Estate of Mr John P. Haggart Paul Hamlyn Foundation The Hayden Family Foundation Sandy Heller Heritage Lottery Fund Mauro Herlitzka Barbara Hepworth Estate Anthony Hill Selima Hill The Estate of Miss Grace Patricia Hills Rose Hilton Roger Hirons Damien Hirst Robert Hiscox The Hiscox Foundation David Hockney The Alan Howard Foundation Huo Family Foundation (UK) Leili Huth and Reza Afshar Kharaghan Iran Heritage Foundation Peter and Maria Kellner Dr Martin Kenig Monika Kinley James and Clare Kirkman Madeleine Kleinwort Leon Kossoff Tomio Koyama Gallery Catherine Lagrange Pierre Lagrange The Leathersellers Company Charitable Fund Agns and Edward Lee The Leverhulme Trust Ruben Levi Dorothy Berwin and Dominique Levy The Linbury Trust and The Monument Trust London Development Agency The Loveday Charitable Trust The Henry Luce Foundation Luhring Augustine LUMA Foundation Allison and Howard W. Lutnick Fatima and Eskander Maleki The Estate of Ernest Mancoba The Manton Foundation Marlborough Fine Art Donald B. Marron Lillian and Billy Mauer Hansjrg Mayer The Mayor Gallery The Paul Mellon Centre for Studies in British Art Ronald and Rita McAulay Fergus McCaffrey Mondriaan Fund, Amsterdam Anthony and Deirdre Montagu Cynthia Moody The Henry Moore Foundation Simon and Catriona Mordant Sir Michael Moritz and Harriet Heyman Marie-Louise von Motesiczky Charitable Trust Elisabeth Murdoch The John R Murray Charitable Trust The Embassy of the Netherlands Eyal Ofer Family Foundation Averill Ogden and Winston Ginsberg Oppenheimer Family Ordovas Matthew Orr and Sybill Robson Orr Stanis Osterly Outset Contemporary Art Fund Pace Gallery Maureen Paley Midge and Simon Palley Veronique and Marshall Parke Stephen and Yana Peel Daniel and Elizabeth Peltz Catherine Petitgas Catherine and Franck Petitgas PF Charitable Trust Stanley Picker Trust PINTA Museum Acquisition Program The Porter Foundation Gilberto Pozzi Massimo Prelz Oltramonti Robert Randall Laura Rapp and Jay Smith Susan and Dennis Richard John Riddy Erica Roberts Craig Robins and Jackie Soffer Barrie and Emmanuel Roman The Roman Family Collection Lord Rothschild The Rothschild Foundation Maria Rus Bojan Edward Ruscha The Dr Mortimer and Theresa Sackler Foundation The Sackler Trust Lord and Lady Sainsbury of Preston Candover The Estate of Simon Sainsbury Mrs Coral Samuel, CBE Julio Sarmento John Schaeffer Ruth and Stephan Schmidheiny Mr and Mrs Charles Schwab Jake and Hlne Marie Shafran Stuart Shave / Modern Art, London Edward Siskind Candida and Rebecca Smith Zsolt Somli and Kati Spengler George Soros The Estate of Jean Spencer Robin Spencer John Stoller Mercedes and Ian Stoutzker John J Studzinski, CBE Pat Swell Tate 1897 Circle Tate Africa Acquisitions Committee Tate Americas Foundation Tate Asia-Pacific Acquisitions Committee Tate International Council Tate Latin American Acquisitions Committee Tate Members Tate Middle East and North Africa Acquisitions Committee Tate North American Acquisitions Committee Tate Patrons Tate Photography Acquisitions Committee Tate Russia and Eastern Europe Acquisitions Committee Tate South Asia Acquisitions Committee The Taylor Family Foundation Terra Foundation for American Art Textile Arts, Santa Fe The Estate of Mr Nicholas Themans Nicholas Tresilian Cy Twombly Foundation The Uggla Family Michael and Yvonne Uva V-A-C Foundation Viktor Vekselberg David and Emma Verey Sir Siegmund Warburgs Voluntary Settlement James Welling The Weston Family Garfield Weston Foundation Sperone Westwater Nina and Graham Williams Jane and Michael Wilson The Hon Dame Janet Wolfson de Botton, DBE The Wolfson Foundation The Lord Leonard and Lady Estelle Wolfson Foundation Mr Nelson Woo Rosemary and Tony Yablon and those who wish to remain anonymous Platinum Patrons Mr Alireza Abrishamchi Ghazwa Mayassi Abu-Suud Mr Shane Akeroyd Basil Alkazzi Ryan Allen and Caleb Kramer Mr and Mrs Edward Atkin, CBE Rhona Beck Beecroft Charitable Trust The Rory and Elizabeth Brooks Foundation The Lord Browne of Madingley, FRS, FREng Karen Cawthorn Argenio Beth and Michele Colocci Mr Stephane Custot Pascale Decaux Elizabeth Esteve Mr David Fitzsimons The Flow Foundation Edwin Fox Foundation Mrs Lisa Garrison David Giampaolo, Pi Capital Hugh Gibson Mr and Mrs Yan Huo Mr Phillip Hylander Yukiko Ito Pajot 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 Anthony and Jacqueline Orsatelli Simon and Midge Palley (Chair) Mr and Mrs Perl Mr and Mrs Paul Phillips Mariela Pissioti Jill and Russell Platt Mr Gilberto and Mrs Daniela Pozzi Jordana and Debra Reuben Frances Reynolds Simon and Virginia Robertson Mr and Mrs Richard Rose Mr and Mrs J Shafran Andre Shore Maria and Malek Sukkar Mrs Jolana Vainio and Dr Petri Vainio Michael and Jane Wilson Lady Wolfson of Marylebone Chizuko Yoshida Poju and Anita Zabludowicz and those who wish to remain anonymous Gold Patrons Eric Abraham Maria Adonyeva Elena Bowes Louise and Charlie Bracken Ben and Louisa Brown Nicol Cardi Matt Carey-Williams and Donnie Roark Melanie Clore Mr Dnall Curtin Harry G. David Ms Miel de Botton Mr Frank Destribats Mrs Maryam Eisler Kate Groes Ms Nathalie Guiot Nazli Hariri Philipp Humm Ms Natascha Jakobs Tiina Lee Fiona Mactaggart Paul and Alison Myners Reem Nassar Mr Francis Outred Marie-Laure Prevost Mathew Prichard Valerie Rademacher Almine Ruiz-Picasso Ralph Segreti Carol Sellars Mr and Mrs Stanley S. Tollman Victoria Tollman OHana Manuela and Iwan Wirth Barbara Yerolemou and those who wish to remain anonymous Silver Patrons Allahyar Afshar Geoffrey and Julian Charitable Trust Sharis Alexandrian Ms Maria Allen Mrs Malgosia Alterman The Anson Charitable Trust Toby and Kate Anstruther Mr and Mrs Zeev Aram Mrs Charlotte Artus Ms Alexandra Aslaksen Tim Attias Trevor Barden Peter Barham Mrs Jane Barker Oliver Barker Mr Edward Barlow Victoria Barnsley, OBE Jim Bartos Alex Beard Mr Harold Berg Jody and Brian Berger Lady Angela Bernstein Madeleine Bessborough Janice Blackburn Shoshana Bloch David Blood and Beth Bisso Ms Karen Bizon Mrs Sofia Bogolyubov Celia Bosch Torres Mr Brian Boylan Ivor Braka Viscountess Bridgeman The Broere Charitable Foundation Mr Dan Brooke Beverley Buckingham Michael Burrell Mrs Marlene Burston Scott Button Mrs Aisha Caan Timothy and Elizabeth Capon Mr Francis Carnwath and Ms Caroline Wiseman 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 Alastair Cookson Cynthia Corbett Mark and Cathy Corbett Tommaso Corvi-Mora Mr and Mrs Bertrand Coste Kathleen Crook and James Penturn James Curtis Michael Cutting Sir Howard Davies Sir Roger and Lady De Haan Giles de la Mare Mr Damon and The Hon Mrs de Laszlo Aude de Liedekerke Maria de Madariaga Anne Chantal Defay Sheridan Marco di Cesaria Simon C Dickinson Ltd Liz and Simon Dingemans Shari Dusansky 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 Lt Commander Paul Fletcher The Sylvie Fleming Collection 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 Kate Gordon Dimitri Goulandris Penelope Govett Judith and Richard Greer Martyn Gregory Mrs Kate Grimond Richard and Odile Grogan Mrs Helene Guerin-Llamas Louise Hallett Arthur Hanna Mark Harris Michael and Morven Heller 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 Mr Joseph Kaempfer Andrew Kalman Ghislaine Kane Ivan Katzen Dr Martin Kenig Mr David Ker Nicola Kerr 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 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 Daniella Luxembourg Art Mrs Ailsa Macalister Kate MacGarry Anthony Mackintosh The Mactaggart Third Fund 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 Jan Mol Lulette Monbiot Mrs Bona Montagu Mrs William Morrison Ms Deborah Norton Julian Opie Pilar Ordovs Desmond Page Maureen Paley Dominic Palfreyman Michael Palin Mrs Adelaida Palm Stephen and Clare Pardy Mrs Vronique Parke Frans Pettinga Trevor Pickett Mr Alexander Platon Mr Oliver Prenn Susan Prevezer QC Mr and Mrs Ryan Prince James Pyner Ivetta Rabinovich Patricia Ranken Bernadette Rankine Mrs Phyllis Rapp Dr Laurence Reed The Reuben Foundation Lady Ritblat Ms Chao Roberts David Rocklin Frankie Rossi Mr David V Rouch Mr James Roundell Mr Charles Roxburgh Hakon Runer and Ulrike Schwarz-Runer Naomi Russell Mr Alex Sainsbury and Ms Elinor Jansz Mr Richard Saltoun Mrs Cecilia Scarpa Cherrill and Ian Scheer Sylvia Scheuer Mrs Cara Schulze Ellen Shapiro The Hon Richard Sharp Neville Shulman, CBE Ms Julia Simmonds Paul and Marcia Soldatos Mr Vagn Srensen Louise Spence Mr Nicos Steratzias Stacie Styles and Ken McCracken Ayse Suleyman Mrs Patricia Swannell Mr James Swartz The Lady Juliet Tadgell Elaine Thomas Anthony Thornton Mr Henry Tinsley Ian Tollett Karen Townshend Monica Tross Andrew Tseng Melissa Ulfane Mrs Cecilia Versteegh Gisela von Sanden Michelle Wafa Audrey Wallrock Sam Walsh AO Stephen and Linda Waterhouse Offer Waterman Miss Cheyenne Westphal Walter H. White, Jnr. Mr David Wood Mr Douglas Woolf and those who wish to remain anonymous Young Patrons HH Princess Nauf AlBendar Al-Saud Miss Noor Al-Rahim Fahad Alrashid HRH Princess Alia Al-Senussi (Chair, Young Patrons Ambassador Group) Miss Sharifa Alsudairi Miss Katharine Arnold Ms Mila Askarova Miss Olivia Aubry Flavie Audi Daniel Axmer Katrina Beechey Sarah Bejerano Athena Bersimis William Bertagna Roberto Boghossian Georgina Borthwick Johan Bryssinck Miss Verena Butt Sarah Calodney The Hon Nicholas Campbell Miss Livia Carpeggiani Francesca Castelli Cecile Champy Alexandra and Kabir Chhatwani Yoojin Choi Arthur Chow Aidan Christofferson Bianca Chu Christine Chungwon Park Adam Clay Niamh Coghlan Caroline Cole Thamara Corm Tara Wilson Craig Sadrine Currimjee Debacker Mr Theo Danjuma Henry Danowski Mr Joshua Davis Ms Lora de Felice Countess Charlotte de la Rochefoucauld Agnes de Royere Federico Martin Castro Debernardi Carine Decroi Sue Deveci Suzana Diamond Mira Dimitrova Ms Michelle DSouza Guillaume Duval Indira Dyussebayeva Alexandra Economou Miss Roxanna Farboud Anas Ferrier Ottavia Fontana Jane and Richard Found Jessica L. Frey Magdalena Gabriel Mr Andreas Gegner Benedetta Ghione Nicolas Gitton David Green Lise Grendene Judith Greve Antonella Grevers Georgia Griffiths Alex Haidas Angus Haldane and Emily de Vismes Haldane Ms Michelle Harari Sara Harrison Andrew Honan Simona Houldsworth Hus Gallery Kamel Jaber Scott Jacobson Ms Melek Huma Kabakci Sophie Kainradl Miss Meruyert Kaliyeva Mrs Vasilisa Kameneva Miss Tamila Kerimova Ms Chloe Kinsman Sadie Kirshman Daniel Klier Berrak Kocaoglu Ellie Konstantilieri Anastasia Koreleva Maria Korolevskaya Stephen Kovalcik Mr Jimmy Lahoud Isabella Lauder-Frost Miss MC Llamas Alex Logsdail Wei-Lyn Loh Lindsey Love Ms Sonia Mak Dr Christina Makris Mr Jean-David Malat Kamiar Maleki Daria Manganelli Zoe Marden Krzysztof Maruszewski Dr. F. Mattison Thompson Charles-Henri McDermott Fiona McGovern Amanda Mead Miss Nina Moaddel Mr Fernando Moncho Lobo Erin Morris Nina Neuhaus Katia Nounou Heline Odqvist Erendira Old Berkay Oncel Andrew Paradis William Pelham Anna Pennink Sonata Persson Alexander V. Petalas The Piper Gallery Courtney Plummer Victoria Poniatowski Radhika Radia Asta Ramonaite Mr Eugenio Re Rebaudengo Elise Roberts Louisa Robertson Katharina Sailer Mr Simon Sakhai Miss Tatiana Sapegina Paola Saracino Fendi Natasha Maria Sareen Franz Schwarz Alex Seddon Lea Sednaoui Count Indoo Sella Di Monteluce Jelena Seng Robert Sheffield Henrietta Shields Ms Marie-Anya Shriro Jag Singh Tammy Smulders Gemma Stewart-Richardson Dominic Stolerman Mr Edward Tang Nayrouz Tatanaki Dr Kafui Tay Miss Inge Theron Soren S K Tholstrup Mr Giancarlo Trinca Mr Philippos Tsangrides Ms Navann Ty Celine Valligny Alexandra Warder Mr Neil Wenman Kim Williams Ms Seda Yalcinkaya Reza Yazdi Daniel Zarchan Olivia Zarka and those who wish to remain anonymous International Council Members Mr Segun Agbaje Staffan Ahrenberg, Editions Cahiers dArt Doris Ammann Mr Plcido Arango Gabrielle Bacon Anne H Bass Cristina Bechtler Nicolas Berggruen Olivier and Desiree Berggruen Baron Berghmans Mr Pontus Bonnier Frances Bowes Ivor Braka The Deborah Loeb Brice Foundation The Broad Art Foundation Bettina and Donald L Bryant Jr Melva Bucksbaum and Raymond Learsy Andrew Cameron AM Fondation Cartier pour lart contemporain Nicolas and Celia Cattelain Trudy and Paul Cejas Mrs Christina Chandris Richard Chang (Vice Chair) Pierre TM Chen, Yageo Foundation, Taiwan Lord Cholmondeley Mr Kemal Has Cingillioglu Mr and Mrs Attilio Codognato Sir Ronald Cohen and Lady Sharon Harel-Cohen Mr Douglas S Cramer and Mr Hubert S Bush III Mr Dimitris Daskalopoulos Mr and Mrs Michel David-Weill Julia W Dayton Ms Miel de Botton Tiqui Atencio Demirdjian and Ago Demirdjian Joseph and Marie Donnelly Mrs Olga Dreesmann Barney A Ebsworth Fsun and Faruk Eczac1ba_1 Stefan Edlis and Gael Neeson Mr and Mrs Edward Eisler Carla Emil and Rich Silverstein Fares and Tania Fares HRH Princess Firyal of Jordan Mrs Doris Fisher Mrs Wendy Fisher Dr Corinne M Flick Amanda and Glenn Fuhrman Candida and Zak Gertler Mr Giancarlo Giammetti Alan Gibbs Lydia and Manfred Gorvy Mr Laurence Graff Ms Esther Grether Konstantin Grigorishin Mr Xavier Guerrand-Herms Mimi and Peter Haas Fund Margrit and Paul Hahnloser Andy and Christine Hall Mr Toshio Hara Paul Harris Mrs Susan Hayden Ms Ydessa Hendeles Marlene Hess and James D. Zirin Andr and Rosalie Hoffmann Ms Maja Hoffmann (Chair) Vicky Hughes ITYS, Athens Dakis and Lietta Joannou Sir Elton John and Mr David Furnish Pamela J. Joyner Mr Chang-Il Kim Jack Kirkland C Richard and Pamela Kramlich Bert Kreuk Andreas and Ulrike Kurtz Catherine Lagrange Mr Pierre Lagrange Baroness Lambert Bernard Lambilliotte Agns and Edward Lee Mme RaHee Hong Lee Jacqueline and Marc Leland Mr and Mrs Sylvain Levy Mr Eugenio Lopez Mrs Fatima Maleki Panos and Sandra Marinopoulos Mr and Mrs Donald B Marron Mr Ronald and The Hon Mrs McAulay Mark McCain and Caro MacDonald Angela Westwater and David Meitus Mr Leonid Mikhelson Aditya and Megha Mittal Simon and Catriona Mordant Mrs Yoshiko Mori Mr Guy and The Hon Mrs Naggar Mr and Mrs Takeo Obayashi Hideyuki Osawa Irene Panagopoulos Young-Ju Park Yana and Stephen Peel Daniel and Elizabeth Peltz Andrea and Jos Olympio Pereira Catherine Petitgas Sydney Picasso Mr and Mrs Jrgen Pierburg Jean Pigozzi Lekha Poddar Miss Dee Poon Ms Miuccia Prada and Mr Patrizio Bertelli Laura Rapp and Jay Smith Maya and Ramzy Rasamny Patrizia Sandretto Re Rebaudengo and Agostino Re Rebaudengo Robert Rennie and Carey Fouks Sir John Richardson Michael Ringier Lady Ritblat Ms Gler Sabanc1 Dame Theresa Sackler, DBE Mrs Lily Safra Muriel and Freddy Salem Dasha Shenkman, OBE Uli and Rita Sigg Norah and Norman Stone Julia Stoschek John J Studzinski, CBE Maria and Malek Sukkar Mrs Marjorie Susman The Late Mr David Teiger Mr Budi Tek, The Yuz Foundation Mr Robert Tomei The Hon Robert H Tuttle and Mrs Maria Hummer-Tuttle Mr and Mrs Guy Ullens Mrs Ninetta Vafeia Corinne and Alexandre Van Damme Paulo A W Vieira Robert and Felicity Waley-Cohen Diana Widmaier Picasso Christen and Derek Wilson Michael G Wilson Mrs Sylvie Winckler The Hon Dame Janet Wolfson de Botton, DBE Anita and Poju Zabludowicz Michael Zilkha and those who wish to remain anonymous Africa Acquisitions Committee Kathy Ackerman Robins Tutu Agyare (Co-Chair) Anshu Bahanda Mrs Nwakaego Boyo Priti Chandaria Shah Mrs Kavita Chellaram Colin Coleman Salim Currimjee Harry G. David Mr and Mrs Michel David-Weill Robert Devereux (Co-Chair) Hamish Dewar Robert and Renee Drake Mrs Wendy Fisher Andrea Kerzner Samallie Kiyingi Matthias and Gervanne Leridon Caro Macdonald Dominick Maia-Tanner Dale Mathias Professor Oba Nsugbe QC Pascale Revert Wheeler Emile Stipp Ana Luiza and Luiz Augusto Teixeira de Freitas Mr Varnavas A. Varnava Burkhard Varnholt Mercedes Vilardell and those who wish to remain anonymous Asia-Pacific Acquisitions Committee Matthias Arndt Bonnie and R Derek Bandeen Andrew Cameron AM Mr and Mrs John Carrafiell Richard Chang Pierre TM Chen, Yageo Foundation, Taiwan Adrian Cheng Mr Yan dAuriol Katie de Tilly Mr Hyung-Teh Do Elaine Forsgate Marden Ms Mareva Grabowski Reade and Elizabeth Griffith Cees Hendrikse Philippa Hornby Mr Yongsoo Huh Shareen Khattar Harrison Mr Chang-Il Kim Ms Yung Hee Kim Alan Lau Woong-Yeul Lee Mr William Lim Ms Dina Liu Ms Kai-Yin Lo Anne Louis-Dreyfus Elisabetta Marzetti Mallinson Marleen Molenaar John Porter The Red Mansion Foundation Dr Gene Sherman AM Leo Shih Sir David Tang (Chair) Mr Budi Tek, The Yuz Foundation Neil Wenman Yang Bin and those who wish to remain anonymous Latin American Acquisitions Committee Ghazwa Abu-Soud Monica and Robert Aguirre Karen and Leon Amitai Luis Benshimol Celia Birbragher Estrellita and Daniel Brodsky Carmen Busquets Trudy and Paul Cejas David Cohen Sitton HSH the Prince Pierre dArenberg Tiqui Atencio Demirdjian (Chair) Andrea Dreesmann Patricia Druck Angelica Fuentes de Vergara Ronald Harrar Barbara Hemmerle-Gollust Rocio and Boris Hirmas Said Marta Regina Fernandez Holman Julian Iragorri Anne Marie and Geoffrey Isaac Nicole Junkermann Jos Luis Lorenzo Milagros Maldonado Fatima and Eskander Maleki Francisca Mancini Fernanda Marques Denise and Felipe Nahas Mattar Veronica Nutting Victoria and Isaac Oberfeld Paulina and Alfonso Otero-Zamora Catherine Petitgas Claudio Federico Porcel Frances Reynolds Erica Roberts Judko Rosenstock and Oscar Hernandez Lilly Scarpetta Norma Smith Juan Carlos Verme Tania and Arnoldo Wald Juan Yarur Torres and those who wish to remain anonymous Middle East and North Africa Acquisitions Committee HRH Princess Alia Al-Senussi Abdullah Al Turki Mehves Ariburnu Sule Arinc Marwan T Assaf Niloufar Bakhtiar Clignet Perihan Bassatne Foundation Boghossian Ms Isabelle de la Bruyre Fsun Eczac1ba_1 Maryam Eisler (Co-Chair) Shirley Elghanian Delfina Entrecanales, CBE Noor Fares Raghida Ghandour Al Rahim Taymour Grahne Maha and Kasim Kutay Mrs Fatima Maleki Fayeeza Naqvi Dina Nasser-Khadivi Shulamit Nazarian Ebru zdemir Mrs Edwina zyegin Mr Moshe Peterburg Charlotte Philipps Ramzy and Maya Rasamny (Co-Chair) Mrs Madhu Ruia Mrs Karen Ruimy Dania Debs-Sakka Miss Yassi Sohrabi Maria and Malek Sukkar Faisal Tamer Ana Luiza and Luiz Augusto Teixeira de Freitas Tsukanov Family Foundation Berna Tuglular Yesim Turanli Roxane Zand and those who wish to remain anonymous North American Acquisitions Committee Carol and David Appel Jacqueline Appel and Alexander Malmaeus Abigail Baratta Dorothy Berwin and Dominique Levy Paul Britton Many Cawthorn Argenio Dillon Cohen Matt Cohler Michael Corman and Kevin Fink Theo Danjuma James Diner Wendy Fisher Glenn Fuhrman Victoria Gelfand-Magalhaes Amy Gold Nina and Dan Gross Pamela Joyner Monica Kalpakian Elisabeth and Panos Karpidas Christian Keese Anne Simone Kleinman and Thomas Wong Rachelli Mishori and Leon Koffler Marjorie and Michael Levine James Lindon Rebecca Marks Lillian and Billy Mauer Liza Mauer and Andrew Sheiner Nancy McCain Stavros Merjos Gregory R. Miller Megha Mittal Shabin and Nadir Mohamed Jenny Mullen Elisa Nuyten and David Dime Amy and John Phelan Nathalie Pratte Melinda B and Paul Pressler Liz Gerring Radke and Kirk Radke Laura Rapp and Jay Smith Robert Rennie (Chair) and Carey Fouks Kimberly Richter and Jon Shirley Carolin Scharpff-Striebich Komal Shah Dasha Shenkman Donald R Sobey Robert Sobey Beth Swofford Laurie Thomson and Andy Chisholm Dr. Diane Vachon Christen and Derek Wilson and those who wish to remain anonymous Photography Acquisitions Committee Ryan Allen Artworkers Retirement Society Nicholas Barker Cynthia Lewis Beck Marisa Bellani Pierre Brahm (Co-Chair) Mrs William Shaw Broeksmit Elizabeth and Rory Brooks Marcel and Gabrielle Cassard Nicolas (Co-Chair) and Celia Cattelain Mr and Mrs Michel David-Weill Nikki Fennell David Fitzsimons Lisa Garrison Ms Emily Goldner and Mr Michael Humphries Margot and George Greig Alexandra Hess Bernard Huppert Dede Johnston Jack Kirkland David Knaus Mr Scott Mead Sebastien Montabonel Mr Donald Moore Alexandra Nash Saadi Soudavar Nicholas Stanley Maria and Malek Sukkar Mrs Caroline Trausch Michael and Jane Wilson and those who wish to remain anonymous Russia and Eastern Europe Acquisitions Committee Dmitry Aksenov Dilyara Allakhverdova Maria Baibakova Razvan Banescu David Birnbaum Maria Bukhtoyarova Mark u ek Elena Evstafieva Dr Kira Flanzraich (Chair) Lyuba Galkina Suad Garayeva Dr Joana Grevers Konstantin Grigorishin Cees Hendrikse Mr. Vilius Kavaliauskas Carl Kostyl Arina Kowner Mrs Gra|yna Kulczyk Peter Kulloi Krzysztof Madelski Eduard Matk Teresa Mavica Luba Michailova Maarja Oviir-Neivelt Neil K. Rector Valeria Rodnyansky Robert Runtk Maria Rus Bojan Ovidiu ^andor Zsolt Somli Elena Sudakova Mrs Elena Todorova The Tretyakov Family Collection Miroslav Trnka Mrs Alina Uspenskaya Georgi Voynov Veronika Zonabend Mr Janis Zuzans and those who wish to remain anonymous South Asia Acquisitions Committee Maya Barolo-Rizvi Krishna Bhupal Akshay Chudasama Anjali and Gaurav Grover Zahida Habib Dr Amin Jaffer Yamini Mehta Mr Rohan Mirchandani Shalini Misra Amna and Ali Naqvi Fayeeza Naqvi Mrs Chandrika Pathak Puja and Uday Patnaik Lekha Poddar (Co-Chair) Mr Raj and Mrs Reshma Ruia Nadia Samdani Rajeeb Samdani (Co-Chair) Mrs Tarana Sawhney Sanjiv Singhal Osman Khalid Waheed Manuela and Iwan Wirth and those who wish to remain anonymous 1897 Circle Marilyn Bild David and Deborah Botten Geoff Bradbury Charles Brett Eloise and Francis Charlton Mr and Mrs Cronk Alex Davids Professor Martyn Davis Jonathan Davis Ronnie Duncan Lt Cdr Paul Fletcher Mr and Mrs R.N. and M.C. Fry Richard S. Hamilton L.A. Hynes John Janssen Dr Martin Kenig Isa Levy Jean Medlycott Martin Owen Simon Reynolds Dr Claudia Rosanowski Ann M Smith Deborah Stern Jennifer Toynbee-Holmes Estate of Paule Vzelay D. von Bethmann-Hollweg Audrey Wallrock Professor Brian Whitton Simon Casimir Wilson Andrew Woodd Mr and Mrs Zilberberg and those who wish to remain anonymous Tate Liverpool Sponsors and Donors The Art Fund Art+Text Budapest Jnos Bartk The Bloxham Charitable Trust Suzanne Deal Booth British Council Northern Ireland Camp and Furnace City of Liverpool College The Clore Duffield Foundation Concorde Securities Ltd Corvi-Mora, London The Creative Europe programme of the European Union Culture Ireland The Daiwa Anglo-Japanese Foundation The Danish Arts Council Committee for International Visual Arts The Embassy of Denmark, London DLA Piper The Duchy of Lancaster Benevolent Fund Edge Hill University European Regional Development Fund (ERDF) Kroly Gerendai The Great Britain Sasakawa Foundation The Granada Foundation Paul Hamlyn Foundation The Hemby Trust Xavier Hufkens IFB Cultural Commissions Mikls Kbor Peter Kulloi Liverpool City Council Liverpool John Moores University Liverpool Vision Markit Mersey Care NHS Mental Health Trust Merseytravel The Government of Mexico The Modern Institute/Toby Webster LTD The Henry Moore Foundation National Lottery through Arts Council England The Embassy of the Netherlands The Office for Contemporary Art Norway (OCA) The Austin and Hope Pilkington Trust The Pollock-Krasner Foundation The Eleanor Rathbone Charitable Trust The Rennie Collection Andrs Rti Richard Telles Fine Art, Los Angeles The Steel Charitable Trust The Swiss Arts Council Pro Helvetia Pter Szauer Tate Americas Foundation Tate Liverpool Members Terra Foundation for American Art Vintage Galria, Budapest West Dean College The Edward James Foundation Winchester School of Art, University of Southampton and those who wish to remain anonymous Corporate Partners David M Robinson (Jewellery) Ltd DLA Piper Edge Hill University The City of Liverpool College Liverpool Hope University Liverpool John Moores University University of Liverpool Liverpool and Sefton Health Partnership and those who wish to remain anonymous Corporate Members The Art School Restaurant by Paul Askew Bibby Line Group Cheetham Bell Choice Capital Management and Aims Finance DTM Legal DWF EY Gower Street Estates Grant Thornton Hilton Liverpool Kirwans Lime Pictures Mazars Rathbone Investment Management Tilney Bestinvest Unilever R&D Port Sunlight and those who wish to remain anonymous Patrons Elkan Abrahamson Hilary Banner Diana Barbour David Bell Lady Beverley Bibby Jo and Tom Bloxham, MBE Ben Caldwell Bill Clark Shirley and Jim Davies, OBE Jonathan Falkingham, MBE Julie Falkingham Olwen McLaughlin Barry Owen, OBE Sue and Ian Poole Andy Pritchard and Patricia Koch Jim and Jackie Rymer Alex Sharp Alan Sprince Roisin Timpson Nick Wainwright and those who wish to remain anonymous Fundraising Advisory Group Lesley 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a"a;aXaoaaaaaa)gd9Dab#b0bFbVbnb{bbbbbbbbc"c=c{ccccccccd"dNdcd)gd9Dcdxdddddee1eAe_ezeeeeeee f>fVfgffffffg4gFg)gd9DFgigggggghh0h=hKhbhhhhhhh+iAiQijiyiiiiiii)gd9Dij)jCjSjajjjjjkk@kxkkkkkk ll%l@lWlalrlllll)gd9Dlm*mcmmmmm n=n_nvnnnnnnn o!oMo[omoooooo pAp)gd9DApOphpppppppp q(q3qMqvqqqqqqrr*r?rQrmryrrrr)gd9Drrrss)sLs\sgssssssst3tDtatyttttt uu6u]u^ulu)gd9Dluyuuuuuuuvv%v7vKv]vhvzvvvvvvvvv ww.wBwPw^w)gd9D^w|wwwwwww)xUewÍЍ*=KXkwώ)gd9D '7L_rƏҏߏ"3>Tmʐ֐)gd9D֐ (7DShz֑,AVdp})gd9D˒$3DQbvГߓ &MNl|Ŕ)gd9DŔՔ#3ES^ە3H_zϖF`~)gd9D˗J"^ș,7Oasؚ /)gd9D/Ojڛ '2K^qڜ3Npŝ)gd9Dŝݝ 'APcqž՞ 'Qj۟:n)gd9D6Tء%5iâ%9c~ӣ)gd9D 5JXhwԤ#2GTlե!"FUp)gd9DpԦ';Xgwȧק1BNi|)gd9DȨѨ 0J`oé֩)8Tb{Ū)gd9D5GXwūث4DPby&1@Zk)gd9D"Tx®>b~ʯ+M\l} ')gd9D'NOuñ!?LXesɲ=Yft)gd9DƳس ';KgǴ,9Ghy޵)gd9D*9Qlʶ?Wfvѷ,Dk)gd9DkløӸ .d :Tnֻ ,Vt)gd9Dּ *Pؽ CDfx;ھ3Ia|)gd9D|ƿڿ%2KZh'4DM\hw)gd9Df%Ouv=\#$789Ai{|9FG^ xhA1h9D0J7OJQJUh9D6]^JhA1h9D6]^Jh9DhA1h9D;^J hA1h9D0J756\]^JhA1h9D0J75\hA1h9D0J7hA1h9D0J8 hA1h9D:w,9Ovw(`y4S)gd9DS^)9Hao}=X<R)gd9DR_#=m;Uv)7bl)gd9Dlps89AR`ny%7Xm)gd9Dmx,7K[&9:)gd9D:G^s*s*BSey)gd9D0Nh &=Rw!6gd9D)gd9Deth Thomas Karen Townshend Tregothnan Michael and Yvonne Uva Geoff and Sue Wiggin Sir Geoffrey and Lady Lise Wilkinson James Williams and those who wish to remain anonymous Business Supporters Carbis Bay Holidays Colensos Coodes EY Hawksfield Cornwall The Sail Lofts St Austell Brewery St Ives Harbour (Gill Holiday Enterprises) St Ives Holidays Truro and Penwith College Vickery Holman and those who wish to remain anonymous Members Committee Gloria Carter Lawrence Ford Beth Grossman Trudi Gurling Andrea Higham Hugh Hope-Stone Louise Jones Lauren McCrossen Neil Scott (Chair) Will Sleath Richard Sorrell Grahame Wheelband This list was updated 16 February 2016 to correct errors Published 2015 by order of the Tate Trustees by Tate Publishing, a division of Tate Enterprises Ltd, Millbank, London SW1P 4RG www.tate.org.uk/publishing Tate 2015 Every effort has been made to locate the copyright owners of images included in this report and to meet their requirements. The publishers apologise for any omissions, which they will be pleased to rectify at the earliest opportunity. Written by Ruth Findlay and Samuel Jones Edited by Lee Cheshire With additional thanks to Caroline Arno, Jason Becker, Celeste Menich and Patrizia Ribul It is the exceptional generosity and vision of individuals, corporations and numerous private foundations and public sector bodies that have helped Tate to become what it is today and enabled us to: Offer innovative, landmark exhibitions and collection displays Develop imaginative education and interpretation programmes Strengthen and extend the range of our collection, and conserve and care for it Advance innovative scholarship and research Ensure that our galleries are accessible and continue to meet the needs of our visitors Establish dynamic partnerships in the UK and across the world. If you would like to find out more about how you can become involved and help support Tate, please contact us at: Development Office Tate Millbank London SW1P 4RG Tel +44 (0)20 7887 4900 Fax +44 (0)20 7887 8098 Tate Americas Foundation 520 West 27 Street Unit 404 New York, NY 10001 USA Tel +1 212 643 2818 Fax +1 212 643 1001 Or visit us at www.tate.org.uk/support     PAGE  PAGE 3 Tate Report 2014/15 !L]w &7JVfxyz3NO[\HIT6gd9D)gd9Dxyzz{ȷ¯huh9DmH sH h9DmH sH he0JmHnHu h9D0Jjh9D0JUhAjhAUh9DhI"h9D6 hA1h9DhA1h9D;OJQJ^J Trs})*z{@A)^gd9D) & Fgd9D)gd9D/K^bvh]hgd9D &`#$gd9D)gd9D)gd9Dh]hgd9Dgd9D4 0 0:p9D/ =!n"n#n$% }DyK _Toc304195513}DyK _Toc304195514}DyK _Toc304195515}DyK _Toc304195516}DyK _Toc304195517}DyK _Toc304195518}DyK _Toc304195523}DyK _Toc304195524}DyK _Toc304195525}DyK _Toc304195526=s 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@_HmH nH sH tH @`@ NormalCJ_HaJmH sH tH ZZ iMm Heading 1$<@&5CJ(KH OJQJ\^JaJ \\ f Heading 2$<@& 56CJOJQJ\]^JaJ\\ Y Heading 3$$@&5B*OJPJQJ\^JphODA`D Default Paragraph FontRiR  Table Normal4 l4a (k (No List ZZ YHeading 1 Char&5CJ(KH OJQJ\^JaJ mH sH dd YHeading 3 Char/5B*CJOJPJQJ\^JaJmH phOsH DD q: Balloon TextCJOJ QJ aJ0U !0 yA0 Hyperlink>*B*4/24 fList^`$L$ fDate2BR2 f Body TextxDaD YBody Text CharCJaJmH sH 8Qr8 fReference Line4 @4 omPFooter  9r .)@. omP Page Number4@4 uHeader  9r FV F 'uFollowedHyperlink >*B*ph`d POP %>Head 1  @5CJ(OJQJ^JaJ(mH sH nn p Grid Table 3$d@& %B*CJKHOJPJ QJ^JaJph6_88 pTOC 1h5;OJQJ>> pTOC 25CJOJQJaJ>> pTOC 3 ^CJOJQJaJ>> pTOC 4 !^CJOJQJaJ>> pTOC 5 "^CJOJQJaJ>> pTOC 6 #^CJOJQJaJ>> pTOC 7 $^CJOJQJaJ>> pTOC 8 %^CJOJQJaJ>> pTOC 9 &^CJOJQJaJ<Yr< (!Zk Document Map'OJ QJ RR '!ZkDocument Map CharCJOJ QJ aJmH sH @O@YBody)CJ OJQJmHnHsH u l0 H3 (AD/JR)#* d,*$1$7$8$9DH$/5@B*CJOJQJ\^JaJmH phsH  l0Paragraph Style 3+d,*$1$7$8$9DH$/5@B*CJOJQJ\^JaJmH phsH jOj l0Headers,d01$7$8$9DH$)@B*CJ0OJQJ^JaJ0mH phsH |O| 0Main text NO INDENT (AD/JR)- d,*$@CJOJQJ^JaJhh 0Main text (AD/JR).d,*$`@CJOJQJ^JaJrr 0 H2 (AD/JR)/d,*$1$7$8$9DH$'5@B*OJQJ\^JmH phsH pOp ;0Timeline0d*$1$7$8$9DH$)@B*CJOJQJ^JaJmH phsH rr ;0 H1 (AD/JR)1d01$7$8$9DH$,;@B*CJ0OJQJ^JaJ0mH phsH V"V ;0Acqu texts (AD/JR)2dCJaJmH sH 2 ;0Text-grey underline03dP&d*$1$7$8$9DH$P%B*CJOJ QJ ^J aJmH phSVWsH vBv ;0 Text-grey#4d*$1$7$8$9DH$`%B*CJOJ QJ ^J aJmH phSVWsH PRP ;0 Body copy 5d,*$@CJOJQJ^JaJ>Ob> ;0Sponsors6d @CJaJ0oq0 ;0 Bold (AD)5\4o4 ;0 Italic (AD)6] |z0table text - white underline79  d&d*$1$7$8$9DH$P%B*CJOJ QJ ^J aJmH phsH  |z0table text-grey&:  d*$1$7$8$9DH$%B*CJOJ QJ ^J aJmH phSVWsH  0Image captions (AD/JR);d*$1$7$8$9DH$%B*CJOJQJ^JaJmH phsH  650 Main text NO INDENT copy (AD/JR)< d,*$@CJOJQJ^JaJPK![Content_Types].xmlN0EH-J@%ǎǢ|ș$زULTB l,3;rØJB+$G]7O٭VvnB`2ǃ,!"E3p#9GQd; H xuv 0F[,F᚜K sO'3w #vfSVbsؠyX p5veuw 1z@ l,i!b I jZ2|9L$Z15xl.(zm${d:\@'23œln$^-@^i?D&|#td!6lġB"&63yy@t!HjpU*yeXry3~{s:FXI O5Y[Y!}S˪.7bd|n]671. tn/w/+[t6}PsںsL. 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