ࡱ>      Pbjbj 3LZH6x x HHHHH\\\8$\i@ " !6#$TQiSiSiSiSiSiSi,knRiH$!!$$i}hHH i}h}h}h$>H H Qi}h$Qi}h}h}hDb}h=ii0i}hn}hn}h}hH}h$$$ii}h$$$in$$$$$$$$$x :    Tate Report 201112 Contents Introduction  PAGEREF _Ref303159495 \h 3 Collection Developing the collection  PAGEREF _Ref209595412 \h 9 Caring for the collection  PAGEREF _Ref209595420 \h 11 Research  PAGEREF _Ref209595426 \h 13 Acquisition highlights  PAGEREF _Ref209595434 \h 16 Programme Tate Britain  PAGEREF _Ref209595440 \h 38  PAGEREF _Ref209595445 \h 39 Tate Liverpool  PAGEREF _Ref209595450 \h 42 Tate St Ives  PAGEREF _Ref209595454 \h 44 Programme calendar  PAGEREF _Ref209595462 \h 47 Audiences Engaging audiences  PAGEREF _Ref209595470 \h 49 Online and media  PAGEREF _Ref209595477 \h 53 Partnerships across the nation  PAGEREF _Ref209595485 \h 55 International partnerships  PAGEREF _Ref209595493 \h 58 Improving Tate People and our environment  PAGEREF _Ref209595498 \h 61 Funding and trading  PAGEREF _Ref209595506 \h 63 Building for the future  PAGEREF _Ref209595556 \h 67 Financial review  PAGEREF _Ref209595519 \h 69 Donations, gifts, legacies and sponsorships  PAGEREF _Ref209595525 \h 72 Introduction Each month, a total of 34,000 people from around the world use turbinegeneration, the online learning space created by Tate with the support of Unilever. They represent 47 countries and include learners, gallery staff and teachers, young and old, all questioning, inquiring and creative. They are part of a community that explores artists ideas. They talk to each other, exchange perspectives and come together to create new ideas for themselves. turbinegeneration is just one taste of how Tate is changing to become an art museum for the twenty-first century. The programme combines learning, community, openness, collaboration, expertise and creativity. These principles are all evident in the newly relaunched Tate website. They are also equally present in the art that Tate continues to collect and care for on behalf of the nation, ensuring that it is accessible today and will remain so for future generations. Tates mission, defined by statute, is to promote the public understanding and enjoyment of British, modern and contemporary art. It is service to the public that drives Tate and those who work here. It is the single most important principle to which my fellow Trustees and I hold the organisation to account and for which we are ourselves accountable. This sense of public service builds from the belief that art is an ongoing conversation between values and ideas, artists and movements. Tate opens up that conversation to as many people as possible. This spirit underpins all of Tates activities, from publishing to research. It is the responsibility that comes with building and protecting the nations collection and giving as many as possible the chance to experience it. We promote the enjoyment and understanding of art by lending work. We do it by hosting exhibitions from around the world: this year, for example, our exhibition of Joan Mir was organised jointly with the Fundaci Joan Mir in Barcelona and the National Gallery of Art in Washington. We work with learners, encouraging people to continue their relationship with art, and maybe one day to create art that will join the collection: this year we have developed new learning programmes at all four Tate sites with the Paul Hamlyn Foundation. We also do it by exploring what art can mean in society, championing art and artists in public debate. Over the coming years, we will do this more, reaching different ears and audiences. My fellow Trustees and I are proud to work with those working at Tate as they achieve continued success. Now opened, the Tanks at will enable us more effectively to reflect the changes in artistic production that we are seeing around the world, particularly performance and live art. The Tanks also represent the evolution of the way in which Tate works. Numerous donors have come together and, through their generosity, have helped Tate realise the longstanding ambition of opening spaces that will allow us to present performance as well as visual art. There have been developments across all of Tates galleries. With funds successfully raised, the Tate Britain Millbank Project will see the renovation of the public spaces, restoring to Tates audiences rooms that have not been publicly accessible since the Thames flood of 1928. It will also enable Tate to represent the full richness of its collection of British art, from Holbein and Hilliard to Hirst and Hamilton. Heritage is the culture of the past, and through our creative response to it, we create the culture of the present, which in turn will become the heritage of the future. That cycle will be visible on the walls of the newly reopened Tate Britain from 2013. Tate St Ives Phase II has also progressed apace this year. Plans have been announced that will create new galleries in which to show more of Tates collection and particularly, of course, the work of the St Ives artists, whose legacy Tate preserves. Alex Katz, the summer exhibition this year, is an example of how the programme at Tate St Ives will bring major figures in contemporary art to Cornwall. Meanwhile, successful shows like Ren Magritte: The Pleasure Principle have confirmed Tate Liverpool as a gallery with international impact, rooted in the north west. Moreover, Tate Liverpool is also at the forefront of developing how the organisation works, piloting apprenticeships and building partnerships that range from universities to health trusts, putting learning at the heart of the programmes. All four galleries house research centres, ranging from Revisiting Modernism at Tate Liverpool, to The Sublime Object: Nature, Art and Language at Tate Britain. Each generates further knowledge about areas as diverse as the arts and health, and through a project funded by the Department for Business, Innovation and Skills the science and technology of collection care. Research is an integral part of what Tate contributes to society. It furthers knowledge of the collection and the artists represented, and it helps connect them to new areas in new ways. In itself, it is part of caring for the collection, maintaining its relevance and opening new knowledge about it. That care, of course, also depends upon the expertise with which Tates staff handle and look after the collection. This year, we have developed our facilities, adding a new cold-store unit to ensure that we can preserve our growing holdings of film. At the same time, we have continued to give the best possible care to works, from the restoration of flood damage to John Martins Destruction of Pompeii and Herculaneum, to the multiple challenges of caring for Mike Nelsons Coral Reef, a work made up of no fewer than 759 objects, all of different materials requiring different kinds of care. Collection Care is also a good example of how each department contributes to the organisations success. In testing and trialling new packing cases built of more renewable timber, it has turned Tates concern for sustainability into practice. Collection Care is a vital part of our international work, hosting twenty overseas colleagues, from trainees to established professionals. International partnerships like this are integral to Tates mission. They help us reach new audiences for the collection. This year, for instance, we have toured works to destinations as far apart as Moscow and Buenos Aires. We also laid the foundations for a tour of Turner: The Makings of a Master to Australia and Japan, a project that will broaden knowledge of Turner and Tate and play a significant role in representing the UKs heritage and art overseas as well. Like our international work, our work in the UK, through programmes like Plus Tate and ARTIST ROOMS, is built on partnerships. As much as the collection, Tates expertise belongs to the nation and we are committed to sharing it. Doing so gives us an opportunity to learn, be it through the work we have done with a small, community-based organisation like Grizedale Arts, or through drawing on the international expertise of colleagues from Pinacoteca in So Paulo in the forthcoming exhibition of Mira Schendel. Such collaboration gives our public in the galleries and online the chance to enjoy modern and contemporary art from around the world and experience the different viewpoints that it represents. The success described in this report is all the more remarkable when seen in the light of the economic difficulties that the UK faces. We are enormously grateful to all our supporters, donors and members for their continued generosity. Their commitment is testimony to the cause that Tate represents: championing the importance of the visual arts. Alongside the understanding that the arts provide, it is important not to underestimate the enjoyment that they give, especially in difficult times. People come to Tate because they value what it stands for and the experience that it has to offer. From the unique products in our shops, to the coffee in our cafs, the whole of Tate comes together to encourage people to connect with the art it holds and shows. Tates continued success also depends on its staff. My fellow Trustees and I are proud to represent and lead such a committed, talented and enthusiastic workforce. Part of our responsibility to Tate is to ensure that its staff is not only rewarded, but also recognised as being an integral part of the gallery and what it represents. We are sorry to see several long-standing members of staff leave. For ten years, Christoph Grunenberg led the artistic programme at Tate Liverpool, creating the kind of success that has been evident in exhibitions like Magritte. Sheena Wagstaff led the curatorial programme at , and the list of exhibitions staged there over the years is testimony to the immense contribution she has made to the development of the gallery in its first decade. At Tate Britain, we are sorry to see Karen Hearn, Anne Lyles and Ian Warrell leave, who have all furthered scholarship in their respective fields, the Tudors, Stuarts, Constable and Turner. Throughout her time at Tate, Rica Jones has been at the forefront of the field of painting conservation. Finally, it is an irony that Martin Barden left as Head of Membership and Ticketing just before the total number of those memberships passed 100,000 for the first time: an achievement that is in no small part the result of his talent and dedication over the past decade. Sadly, a number of senior artists passed away this year. Peter de Francia, former Professor of Painting at the Royal College of Art; John Golding, himself a former Trustee and curator of major shows such as Matisse Picasso; Richard Hamilton, long-recognised as the father of pop, but also an artist with a keen sense of the political; Mike Kelley; and David Weiss. The representation of each in Tates collection bears witness to their importance in the development of art in the late twentieth century. The Lord Browne of Madingley Chairman Tate Trustees The Trustees as of 31 March 2012 The Lord Browne of Madingley, FRS, FREng (chairman) Tomma Abts Lionel Barber Tom Bloxham, MBE Professor David Ekserdjian Mala Gaonkar Maja Hoffmann Patricia Lankester Elisabeth Murdoch Franck Petitgas Monisha Shah Bob and Roberta Smith Gareth Thomas Wolfgang Tillmans Collection Developing the collection The collection is the lifeblood of Tate. All our activities emanate from it. It must be shared, cared for and developed if it is to be of value to future generations. In 201112 Tate acquired a total of 516 works. Seventy artists not yet represented in the collection were added, forty-seven of whom are from outside the UK. This was a particularly strong year for photography. Several important bodies of work were acquired including ten photographs by Robert Mapplethorpe for ARTIST ROOMS, presented by the Robert Mapplethorpe Foundation, and a group of images associated with the Bauhaus School, with funds provided by the Photography Acquisitions Committee. A priority for Tate in recent years has been to strengthen holdings from beyond the confines of Europe and North America. Last year we purchased works by artists from Argentina, Brazil, Chile, Colombia, Egypt, Iran, Japan, Lebanon, Mexico, Russia, South Africa, South Korea, Syria and Thailand. Among the most important acquisitions this year was Ai Weiweis Sunflower Seeds 2010, derived from his Unilever Series commission. The sculpture was purchased by Tate with assistance from the Tate International Council, the Art Fund, and Stephen and Yana Peel. The British collection was enhanced by an exquisite landscape in oil by Cecil Lawson, The Hop-Gardens of England 1874, and Portrait of Lady Margaret, 2nd Countess of Wigtown 1625 by Adam de Colone. The continuing efforts of Anthony dOffay and Marie-Louise Laband, and the profound impact of ARTIST ROOMS across the country, have prompted a number of generous gifts to the collection, including Martin Creeds donation of a room of seven works. Deepening our curatorial expertise Our commitment to expand and broaden the collections geographical reach was demonstrated with the launch in September of the Africa Acquisitions Committee. A partnership with Guaranty Trust Bank Plc provides additional funds for acquisitions from this vast and richly creative continent. Elvira Dyangani Ose was appointed Curator, International Art, supported by Guaranty Trust Bank Plc, bringing her knowledge of the region to Tate. The Latin American Acquisitions Committee celebrates its tenth anniversary in 2012. Tate recently appointed Colombian curator Jos Roca as the Estrellita B Brodsky Adjunct Curator of Latin American Art to work with the committee in the region. Supporters It would be impossible to build the collection without the generous support of a wide range of funders and supporters. Tate International Council, Tate Patrons and Tate Members have all contributed generously this year. The Art Fund has helped strengthen our holdings by contributing to the purchase of several key works. These include five drawings by Rachel Whiteread and a group of anatomical studies by William Orpen. The Outset Contemporary Art Funds annual injection of funds enabled Tate to acquire work at the Frieze Art Fair by Melanie Smith, Alina Szapocznikow and Helena Almeida. The support of the PINTA Museum Acquisition Program meant that work by the Brazilian artist Lygia Pape has now entered the collection for the first time. Developing the collection is also made possible through the energy and dedication of Tates acquisition committees, represented by 150 members across the world. The acquisition of Francis Alss Tornado 200610 was supported by the Latin American Acquisitions Committee, for example, and a work by the Egyptian artist Hala Elkoussy, On red nails, palm trees and other icons Al Archief (Take 2) 2009, was supported by the Middle East North Africa Acquisitions Committee. We are also grateful for major gifts made by individuals. These include Mark Dions The Curiosity Shop 2005 and the gift to the American Fund for the Tate Gallery from Michael and Jane Wilson of Bruce Davidsons powerful series of photographs of the New York subway taken in the 1980s. A further group of photographic works by Don McCullin was donated by Eric and Louise Franck. Artists continue to give generously and this year we received significant pieces from Pedro Cabrita Reis, Richard Deacon and Callum Innes. We also received a number of important gifts from benefactors, among them works by John Craxton, Jacob Epstein, Angus Fairhurst, Barry Flanagan and Samuel Palmer. Caring for the collection Collection Care teams work with art ranging from Tudor panel paintings to contemporary works made from household objects like clothing and food. Every year presents new challenges. Our ability to meet these is now increasing through partnerships and the exchange of knowledge. Caring for Tates artworks, archive and library collections is a multi-disciplinary endeavour. Meeting the challenge of handling complex works Mike Nelsons The Coral Reef 2000 was de-installed after two years on display at Tate Britain. This labyrinth of rooms and corridors has a full inventory and bespoke packing system. One room alone comprised over 350 objects. A team of art handlers, builders, conservation technicians, conservators, electricians, photographers and registrars worked together over a three-week period to remove wall sections, label and carefully pack the artwork. One of the most ambitious tasks carried out by conservators this year was the treatment of John Martins The Destruction of Pompeii and Herculaneum 1821. The painting was severely damaged in the Thames flood of 1928 and for many years was considered beyond repair. With advancing technologies and support from The Clothworkers Foundation, Tate conservators were able to clean off layers of discoloured varnish and Thames mud. Tiny flakes of paint were re-adhered, and a lost section of the canvas was restored. The work went on display as one of the showpieces in the major John Martin exhibition at Tate Britain in 2011. A number of other historic paintings in Tates collection were treated, the most challenging of which was Sir Joshua Reynoldss The Age of Innocence ?1788. Painted over an earlier version of The Strawberry Girl, thick layers of degraded varnish and discoloured overpaint obscured the image. After detailed analysis and testing, conservators devised a method for removing the upper layers of varnish which meant this charming character study could be appreciated once again. The time-based media team has commissioned a new cold storage unit at the Tate store which means we can keep film, slide and video artworks in the appropriate environment and ensure their long-term preservation. Sharing our expertise Sharing expertise with colleagues and learning from them is key to developing skills for the future. This year the Conservation department supported advanced training by hosting twenty students, postgraduate trainees and mid-career placements from the UK, Europe, Canada, India, Singapore and the US. One of Tates painting conservators travelled to the National Gallery of Zimbabwe to conserve three important early paintings by Chris Ofili. The paintings were stretched onto new supports, the paint was cleaned and consolidated and they are now fully ready for display. Tates Library & Archive Tate Library collects published material and original artist books, over half of which are not available in any other library. Tate Archive is the national archive of British art from 1900 and collects original historical documents. These collections can be viewed in the Hyman Kreitman Reading Rooms. Last year we had over 25,000 visits and to meet the rising demand we increased opening times from four days a week to five. Making our collections more accessible remains a priority. We are opening up Tates archive by digitising and publishing key documents on the web. All of the posters produced by Tate from 1937 to 2011 have been digitised and can be viewed in the reading room. We also digitised the full run of Audio Arts magazine, with 250 hours of recordings featuring contributions from over 1,000 artists, with support from the Rootstein Hopkins Foundation. Fifty-two archive collections, comprising over 50,000 items with particular relevance to the UKs regions, have been selected for digitisation in a major project supported by 1.95 million from the Heritage Lottery Fund. Another milestone was the completion of the cataloguing of the Artist Placement Group (APG) papers, funded by The Glass-House Trust. APG, founded by John Latham and Barbara Steveni, emerged in London in the 1960s, placing artists in industry and government departments. Ian Breakwell, Stuart Brisley and Barry Flanagan were among those who spent time in organisations such as the National Coal Board and the Department of Health and Social Security. Research Tate is not just an art gallery: it also sustains a programme of research in conservation science, cultural theory and museum studies, as well as art history. The success of the programme depends on partnerships and over the past few years Tate has deepened links with individuals and academic institutions in the UK and abroad. Ongoing and new research There are twenty-six doctoral students currently associated with Tate, supported by the Arts and Humanities Research Council. They strengthen our relationships with institutions and colleagues in the academic world and further knowledge of Tates activities and collection. Students are currently working on projects ranging from early nineteenth-century British religious art to Polish photography in the 1960s. This year a new Tate Research Centre, Revisiting Modernism, was established at Tate Liverpool. It will bring together academic partner institutions to discuss alternative narratives of modern art. Tate Liverpool has a long tradition of such an approach. The 2010 Picasso: Peace and Freedom exhibition, for example, examined Picassos political activism alongside his art. Revisiting Modernism will build on Tate Liverpools academic contacts in the north of England and further afield, including the Henry Moore Institute. There are currently four Research Centres across Tate and we intend to increase this number in the future. Major projects completed Work on a major research project about the Camden Town Group of painters in Edwardian Britain was completed this year, marking a significant milestone in the history of scholarship at Tate. Supported by the Getty Foundation, it brought together a large team of internal and external authors from a range of disciplines and involved the close collaboration of curatorial staff and digital specialists within the museum to create a scholarly online project, rich with images and multimedia content. With over thirty essays and 127 catalogue entries, The Camden Town Group in Context is Tates first online collection research project and will be used as a model for future projects. The Sublime Object: Nature, Art and Language, a three-year project, was completed in 2011. It was funded by one of the first major research grants awarded to Tate by the Arts and Humanities Research Council. The sublime evokes exulted emotion, experiences of awe-inspiring grandeur, vastness or beauty. This project explored interpretations of the sublime from the seventeenth century to the present day through a range of sources including music, literature and the visual arts. Extensive online content was generated, including a series of films, journal articles and conference papers. Groundbreaking advances The deterioration of light-sensitive materials has long been associated with oxidation. In 2005, with funding from the Department for Business, Innovation and Skills, Tate embarked on a project to design and produce a frame that encloses works of art in a low oxygen environment. In addition, new advances were made in microfading, a technique that makes it possible to assess the suitability of works for low oxygen display. A conference held at in September brought together an international array of experts to examine the actual and potential impact of these technologies on how we care for and display collections. Acquisition highlights These acquisitions are highlights from the new works added to the collection. For a full list of loans and works acquired, please visit  HYPERLINK "http://www.tate.org.uk/tatereport" www.tate.org.uk/tatereport Adam de Colone about 15721651  HYPERLINK "http://www.tate.org.uk/art/artworks/colone-portrait-of-lady-margaret-livingstone-2nd-countess-of-wigtown-t13440" Portrait of Lady Margaret Livingstone, 2nd Countess of Wigtown 1625 Oil paint on canvas frame: 1323 x 1025 x 58 mm Presented by Tate Patrons 2011 T13440 This portrait of Lady Wigtown (born c.1595) is a depiction of power and possessions. A daughter of the Earl of Linlithgow, she married in 1609 and had eight children with her husband, John, 2nd Earl of Wigtown. He was also painted by de Colone in 1625, shortly before being appointed a member of King Charles Is Privy Chamber. Margarets black attire indicates her high status, as does her lace and the considerable amount of jewellery shown. In her right hand she holds an expensive feather fan and, in her left, a fresh red carnation, a pictorial symbol of fidelity. Born in Antwerp in about 1572, de Colone was active in Rotterdam and Dordrecht until 1622 when he moved to Scotland. During the 1620s he worked for court patrons at the highest level, including King JamesI. About thirty portraits by him are known, almost all of British subjects. By 1630 he was back in Rotterdam, where he apparently settled permanently. Cecil Gordon Lawson 18511882  HYPERLINK "http://www.tate.org.uk/art/artworks/lawson-the-hop-gardens-of-england-t13443" The Hop-Gardens of England 1874 Oil paint on canvas support: 1537 x 2137 mm Purchased with assistance from Tate Members 2012 T13443 During his short career Cecil Lawson was regarded as the champion of poetic imagination in British landscape painting, the heir to Constable, Palmer and the ancients. The Hop-Gardens of England, the artists best-known work, was painted in 1874 in Wrotham in Kent where the artist used a barn as a studio. While the composition was clearly influenced by Rubenss An Autumn Afternoon with a View of Het Steen in the National Gallery, the brushwork is atypically bold and vigorous and seems startlingly modern for 1874, more suggestive of Van Gogh than the picturesque detailing that had come to characterise the English school. Despite attention to details such as the oast houses in the distance, the painting has a dislocated, dreamlike quality. The fidelity to natural detail carries intimations of nationalism, but the work also has a spiritual feel with the pilgrim-like figure in the foreground dwarfed by the height of burgeoning hops. Sir William Orpen 18781931  HYPERLINK "http://www.tate.org.uk/art/artworks/orpen-anatomical-study-hanging-man-t13361" Twenty Anatomical Studies c.1906 Chalk on paper support, each: 1220 x 787 mm Purchased with assistance from the Art Fund, Tate Members, the Olivier family and individual donors 2011 T13361 T13380 These drawings were used by William Orpen to teach his students at Dublins Metropolitan School of Art. In them Orpen depicts the structure of bones and muscles, and the way that they determine the contours of the body in movement. Orpen had studied life drawing at the Slade under the former surgeon Henry Tonks, and this training had convinced him of the importance of understanding the underlying anatomical structure of the figure as well as its outward appearance. The group includes detailed anatomical diagrams and more fully elaborated corch studies of the figure in motion, many adapted from works by Michelangelo. It is rare for large-scale teaching diagrams of this kind to survive. They are remarkable achievements of draughtsmanship which provide an insight into art education in the early twentieth century. Leonor Fini 19081996  HYPERLINK "http://www.tate.org.uk/art/artworks/fini-little-hermit-sphinx-t13589" Little Hermit Sphinx 1948 Petit Sphinx hermite Oil paint on canvas support: 411 x 244 x 21 mm Presented by Tate Members 2011 T13589 The estate of Leonor Fini/DACS 2012 Despite its modest size Little Hermit Sphinx is one of Leonor Finis key paintings of the late 1940s, when her fine command of a crystalline illusionism was at its height. Fini was independent of surrealism but friendly with many of its adherents including Max Ernst, Leonora Carrington and Salvador Dal. Like them she developed a personal imagery that often lent a sexual undertow to her subjects. In particular Fini saw the figure of the sphinx, mediated through late nineteenth-century symbolism, as part of a long-suppressed hermetic tradition. It was frequently a surrogate self-image and stood more generally for an empowerment of the feminine. In Little Hermit Sphinx this mysterious creature is accompanied, as is often the case, by details of mortality: the birds skull and broken shell, and, most disconcertingly, an internal organ suspended from the doors lintel. Through her extraordinary technique, Fini conjured up a decayed and decadent world parallel to the reality of post-war Europe. Giuseppe Penone born 1947  HYPERLINK "http://www.tate.org.uk/art/artworks/penone-to-unroll-ones-skin-p80079" To Unroll Ones Skin 1970 Svolgere la propria pelle 648 photographs, gelatin silver prints on paper, mounted onto 18 panels panel, each: 535 x 735 x 25 mm Number 1 in an edition of 3 Presented by Tate Members 2011 P80079 Archivio Penone Giuseppe Penone is an artist closely affiliated with the Italian arte povera group. The relationship between man and nature is a dominant theme in his work. To Unroll Ones Skin consists of eighteen framed panels, each of which contains numerous black and white photographs documenting Penone pressing a small square of clear glass against every part of his body, so that the topology of the skins ridges and furrows becomes visible. This mapping of his body results in an almost cartographic landscape. The work is one of the earliest and most important examples of Penones indexical works exploring the relationship between sight and touch using the surface of the human body. In works such as this one, Penone elides the boundaries between performance and land art, his body becoming the territory of his investigations. Susan Hiller born 1940  HYPERLINK "http://www.tate.org.uk/art/artworks/hiller-dedicated-to-the-unknown-artists-t13531" Dedicated to the Unknown Artists 19726 305 postcards, sea charts and map mounted on 14 panels, books, dossiers and exhibition catalogues, 1 painted wooden book stand and perspex shelf support, each: 660 x 1048 mm. Overall display dimensions variable Purchased with assistance from the Art Fund 2012 T13531 Susan Hiller Dedicated to the Unknown Artists features over 300 original postcards captioned rough sea, which depict waves crashing onto shores around Britain. Arranged according to type of image and accompanied by charts analysing the material, these ephemeral objects are given unexpected focus. The title identifies the work as a tribute to the forgotten artists who painted, photographed or hand-tinted the numerous seaside images. Hiller draws attention to this unrecognised labour, as well as a peculiarly British fascination with bad weather. In the dossier accompanying the work, the artist describes herself as a curator, presenting an exhibition of these overlooked cultural artefacts. Helena Almeida born 1934  HYPERLINK "http://www.tate.org.uk/art/artworks/almeida-inhabited-canvas-p80033" Inhabited Canvas 1976 Tela Habitada 9 photographs, gelatin silver print on paper displayed: 1300 x 1000 mm Purchased with the assistance of Armando Cabral, Manuel Rios and Manuel Fernando da Silva Santos 2012 P80033 Helena Almeida. Photo: Laura Castro Caldas/Paulo Cintra Inhabited Canvas is a grid of nine black and white photographs depicting the artist passing behind and in front of a painting stretcher. Almeida began her career in the late 1960s making paintings and, though she quickly gravitated to works that questioned the traditional limits of painting and then into photography and performance, her practice can be understood as continuing a dialogue with painting throughout her career. Early on she made hybrid painting-objects that exposed the support structure of the stretcher beneath the canvas, or opened up the canvas beyond the frame. In the early 1970s she made a radical shift, adopting photography as her primary medium and staging actions for the camera; her own body became the exclusive subject of her work. In subsequent series she annotated the photographs in a way that continued her interrogation of painting. Inhabited Canvas comes from a series of sequential photographic grids that are among her earliest such photographic works. Sophie Calle born 1953  HYPERLINK "http://www.tate.org.uk/art/artworks/calle-venetian-suite-t13640" Venetian Suite 1980, 1996 Suite Vnitienne 55 photographs, gelatin silver print on paper, 23 text panels on paper and 3 colour maps on paper 55 parts each: 177 x 239 x 25 mm, 23 parts each: 306 x 219 x 25 mm, 3 parts, each: 177 x 239 x 25 mm, overall dimensions variable Presented by Tate Patrons 2011 T13640 Sophie Calle. DACS/ADAGP 2012. Photo: Galerie Perotin, Paris Sophie Calles practice is characterised by performances employing rule-based scenarios, which the artist then documents. Venetian Suite documents a journey the artist made to Venice in order to follow a man, referred to only as Henri B., whom she had briefly met in Paris. Venetian Suite describes through photographs Calles attempts to track her subject over the course of his thirteen-day stay in Venice. Originally produced as a book in 1983, it was re-configured as a gallery-based work in 1996. It comprises panels of text, black and white photographs and maps tracing the routes in the city along which Calle shadowed Henri B. The appearance of the work deliberately recalls a detective casebook, with texts written in a style that mimics and deconstructs the narrative tension typical of detective novels or film noir. Lewis Baltz born 1945  HYPERLINK "http://www.tate.org.uk/art/artworks/baltz-san-quentin-point-p79978" San Quentin Point 1982 58 photographs, gelatin silver print on paper image, each: 109 x 229 mm, support, each: 202 x 253 mm Purchased with funds provided by the Photography Acquisitions Committee 2011 P79978 Lewis Baltz Lewis Baltzs San Quentin Point, produced between 1982 and 1983, is one of a series of large-scale landscape projects by the photographer which form part of the New Topographics movement in American post-war photography. As the title suggests, San Quentin Point was made near San Quentin in California, close to the notorious prison of the same name, but also close to a very affluent suburban housing development. The work, in its carefully sequenced grid, shows a variety of perspectives on the marginal and overlooked effects of human habitation on the landscape. It begins with conventional landscape compositions depicting areas of overgrowth and wasteland, and then moves onto close-ups of discarded objects and cracked earth. The work raises questions about the nature of development, but Baltz also invites contemplation about the nature of photography itself, and the way that the medium can document and aestheticise a broken landscape. Pawel Althamer born 1967  HYPERLINK "http://www.tate.org.uk/art/artworks/althamer-monika-and-pawel-t13573" Monika and Pawel 2002 Straw and hair over metal, plaster, porcelain, artificial wig, wooden floor, video camera, mobile phone, wrist watch, cotton thread and other materials object: 1760 x 735 x 1110 mm Presented by Tate Patrons 2011 T13573 Pawel Althamer The two nude figures in Monika and Pawel represent the artist and his first wife. The figures are standing side-by-side and are both immersed in operating their respective electronic consumer gadgets, in his case a video camera and in hers a mobile phone. Althamers figurative works have typically been self-portraits or portraits of family members and his full-figure portraits tend to be nude studies without the clothing or costume that might further identify the subject as belonging to a particular class, location or position. In the case of Monika and Pawel, the male and female couple can be seen as an Adam and Eve who are tempted not by the apple, but by technology. Althamer first made figurative self-portraits while still a student at the Academy of Fine Arts in Warsaw. Instead of covering a wire frame with clay in the traditional manner, Althamer attached to the skeletons bundles of grass that he had carefully sewn and woven together. This method enabled him to reproduce the intricate structure of muscles with great precision. Paul Graham born 1956  HYPERLINK "http://www.tate.org.uk/art/artworks/graham-untitled-38-woman-on-sidewalk-new-york-2002-p80078" Untitled #38, Woman on Sidewalk, New York 2002 Photograph, colour, Cibachrome print, on paper mounted onto acrylic glass image: 1520 x 2035 mm Purchased with funds provided by the Photography Acquisitions Committee 2012 P80078 Paul Graham Untitled #38, Woman on Sidewalk, New York, 2002 is from a series of sixty-three photographs collectively titled American Night. The series is divided into three groups. The largest group consists of bleached-out images of solitary African-Americans, wandering or waiting in deserted urban landscapes. Full-colour street photographs of African-Americans, all of whom appear poor or damaged in some way, form another group. The final grouping depicts well-looked-after, middle-class suburban homes. Untitled #38, Woman on Sidewalk, New York, 2002 shows a poor black woman sitting on a dirty New York pavement in harsh sunlight. She has her back turned to the camera but she looks over her shoulder to make eye contact with the viewer, appearing isolated and vulnerable. Mark Dion born 1961  HYPERLINK "http://www.tate.org.uk/art/artworks/dion-the-curiosity-shop-t13603" The Curiosity Shop 2005 Painted wooden building with asphalt shingle roof, cement blocks, glass, lamps, textiles, books, taxidermy, electrical appliances, tools, metal, plastic, shell, wicker, leather, rubber, plaster, painted stone, ceramic, paper and other materials unconfirmed: 3800 x 8500 x 3700 mm Presented anonymously 2011 T13603 Mark Dion, courtesy Tanya Bonakdar Gallery, New York The Curiosity Shop is a stand-alone shop with a front porch, made from wooden boards in the style of New England architecture. A sign that hangs from the front states Antiques. Curiosities. Collectibles. The viewer is only able to peer through the windows to see what is inside. The interior is dimly lit and crammed full of junk, bric-a-brac and books, resembling a rural antiques shop. The objects appear unordered and chaotic. However, as is the case with all of Dions installations, the items are categorised meticulously according to a system invented by the artist. Dions work consistently investigates how institutional systems of classification and display influence our understanding of art, science and the natural environment. The Curiosity Shop mines Dions own history as an artist and the objects chosen allude to his previous projects. Richard Deacon born 1949  HYPERLINK "http://www.tate.org.uk/art/artworks/deacon-restless-t13426" Restless 2005 Steamed ash and stainless steel object: 1580 x 3740 x 2570 mm Presented by the artist 2010 T13426 Richard Deacon, courtesy Lisson Gallery, London The sculptures rolling waves reflect Deacons interest in transitional states and movement, for example the turbulent flow of ocean currents. Each ribbon-like component is made from a compilation of strips of ash that have been meticulously steam-bent into a repertoire of shapes and then screwed together to form evocative loops and curls. Structure and form are direct consequences of the process of making and assembly and the basic properties of the materials. This process in some respects echoes the artists rigorous procedure for the making of an important series of early drawings Its Orpheus When Theres Singing 19789 (#7 is in Tates collection), where the curve and counter curve are particularly important. In the case of Restless the overall effect is one of graceful fluidity which contradicts the technically challenging methods of construction. Cerith Wyn Evans  HYPERLINK "http://www.tate.org.uk/art/artworks/wyn-evans-astrophotographythe-traditional-measure-of-photographic-speed-in-astronomy-by-t13645" Astrophotography...The Traditional Measure of Photographic Speed in Astronomy...' by Siegfried Marx (1987) 2006 Glass chandelier, flat screen and Morse code unit Overall display dimensions variable Purchased with funds provided by the Duerckheim Collection, Tate Patrons, the Yuz Foundation, Caldic Collectie, Wassenaar and Samuel and Nina Wisnia 2012 T13645 Cerith Wyn Evans, courtesy Jay Jopling/White Cube, London AstrophotographyThe Traditional Measure of Photographic Speed in Astronomy by Siegfried Marx (1987) 2006 is a faithful replica of a glass chandelier at the Ca Rezzonico palazzo in Venice. Suspended from the ceiling the chandelier is itself regularly illuminated by pulses of light generated from texts rendered in Morse code by a computer and displayed on a monitor. Encoded letter for letter as dots and dashes, the flickering lights of the chandelier offer the experience of language as a coded system. The text and the title of the work comes from the scientific publication Astro-photography Stages of Photographic Development which explores the advent of astrophotography (a specialised type of photography that entails recording images of astronomical objects and large areas of the night sky) and the discovery that microscopic inconsistencies produced by particles such as dust within the photographic emulsion have led to the erroneous recording and naming of stars and galaxies. Pedro Cabrita Reis born 1956  HYPERLINK "http://www.tate.org.uk/art/artworks/cabrita-reis-the-moscow-piece-t13493" The Moscow Piece 2006 Aluminium, wood, acrylic paint and fluorescent light object: 245 x 3985 x 755 mm Presented by the artist 2011 T13493 Pedro Cabrita Reis The Moscow Piece is a shelf constructed using aluminium, wood, acrylic and a fluorescent light. Like much of Cabrita Reiss sculpture, it has a deliberately unfinished appearance. The materials used in this work were recycled from a larger installation made by the artist for the Portuguese Pavilion at the Venice Biennale in 2003. This sculpture, however, was created for an exhibition at the Center for Contemporary Arts in Moscow, hence its title. The Moscow Piece is typical of Cabrita Reiss work from this time, when his sculptures became more industrial, with outlines defined by heavy steel bars, window frames or fluorescent strip lighting. Despite his apparent interest in construction and architecture, Cabrita Reis, who began his career as a painter, continues to see his work as an extension of painting. As he has said, when I use glass or fluorescent tubes, plaster, wood, steel or poured paint its still about the vocabulary of painting. Olga Chernysheva born 1962  HYPERLINK "http://www.tate.org.uk/art/artworks/chernysheva-on-duty-p13157" On Duty 2007 Eleven optical gelatin silver fibre prints image, each: 743 x 500 mm Number 2 in an edition of 3 plus 1 artists proof Presented by VTB Capital 2011 P13157 Olga Chernysheva Olga Chernysheva uses film and photography to frame the quotidian, humble and mundane. Probing the psyche of post-perestroika Russia, On Duty consists of eleven large black and white photographs of disaffected attendants in the Moscow underground wearing uniforms and severe demeanours that seem to hark back to the Soviet era. Each photograph is cropped tightly so as to capture the sitter in the booth that forms their working environment, with the subject sat in three-quarters profile at the centre of the composition. The traditional silver gelatin printing process that Chernysheva has adopted for these photographs, together with their monumental scale, lends the images an air of solemnity, and gives the sitters in each image the gravitas and almost sculptural presence of portrait busts. A number of the photographs are shot through the glass window of the booth, so that reflections of the surroundings and passers-by are made visible. The subjects appear attentive, with their gaze directed outward, but also immersed in their own thoughts. Christopher Wool born 1955  HYPERLINK "http://www.tate.org.uk/art/artworks/wool-untitled-t13445" Untitled 2007 Enamel paint on canvas. Support: 3207 x 3205 mm Purchased with funds provided by the American Fund for the Tate Gallery, courtesy of the North American Acquisitions Committee and Oscar Engelbert, Alain Jathiere, Cynthia and Abe Steinberger, Mr Christen Sveaas and an anonymous donor 2012 T13445 Courtesy of the artist, Luhring Augustine, New York, and Simon Lee Gallery, London Untitled is a large painting made with black enamel paint which has been thinned, erased and brushed around. Thick looping black lines have been applied with a spray gun in an activity akin to drawing. From these lines there are run-off drips, some travelling upwards indicating that the painting was worked on in different orientations. Wool then worked on the surface with rags soaked in thinner, spreading out and erasing sections of the lines. Wool looks back to a heroic moment of American abstract painting, but at the same time recognises the impossibility of such a return with a series of refusals: a refusal to use colours or brushes, and an insistence on composing through erasure. Wools paintings also act as a testament to the visual character of the urban environment in which they are made. Untitled conveys abstractions debased identity, recalling pavement stains and graffiti, and the look of painted-out windows in recession-hit stores. Martin Creed born 1968  HYPERLINK "http://www.tate.org.uk/art/artworks/creed-work-no-890-dont-worry-ar01149" Work No.890: DONT WORRY 2008 Neon object: 505 x 500 x 60 mm ARTIST ROOMS Presented by the artist jointly to National Galleries of Scotland and Tate and acquired with assistance of the ARTIST ROOMS Endowment, supported by the Henry Moore Foundation and Tate Members 2010 AR01149 Martin Creed This piece is one of a group of seven works generously gifted by the artist to ARTIST ROOMS, the first gift of a new room by a contemporary artist to the ARTIST ROOMS collection since Anthony dOffays original gift in 2008. It is a two-word neon text displayed high in a corner of a room with one word on each wall. Despite the apparent simplicity of the message, it contains an uncertainty of sentiment. Split over two walls, the common platitude dont worry is divided into two commands: the prohibition DONT as well as the instruction to become anxious expressed by the word WORRY. Similarly, the platitude itself can be a reassurance and a signal that there is indeed something to be concerned about. This ambiguity is common in Creeds work, which emerges from an ongoing series of investigations into everyday phenomena. His choice and use of materials Blu-Tack, masking tape, party balloons, simple or unpoetic language as text or as lyrics to songs is a thoughtful celebration of the ordinary. Apichatpong Weerasethakul born 1970  HYPERLINK "http://www.tate.org.uk/art/artworks/weerasethakul-primitive-t13564" Primitive 2009 Video, high definition, 8 projections, colour and sound (surround) duration variable: 1 min 29 hours, 34 min Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2011 T13564 Kick the Machine Films/Illuminations Films Photo: Chaisiri Jiwarangsan Primitive details the history of racial migration and slaughter in the Thai border town of Nabua. Less political documentary than haunting jungle dreamscape, the installation re-imagines the history of Nabua as an elusive science-fiction ghost story rooted in Thai folklore. Weerasethakul presents the town as a place where memories and ideologies are extinct and the only inhabitants are teenage male descendants of insurgent communist farmers. The teens fabricate memories and build a new world, manufacturing a spaceship in the rice fields. Weerasethakuls work is marked by an interest in surrealism, the jungle, and the tension between nature and the urban world. The jungle becomes a stage for the artists fascination with reincarnation, reverie, desire and light. Drawing heavily on anecdotal traditions from rural Thai villagers as well as personal politics, Weerasethakul crafts a unique approach to history seemingly caught in an endless cycle of dreams. Steve McQueen born 1969  HYPERLINK "http://www.tate.org.uk/art/artworks/mcqueen-static-t13425" Static 2009 Film, 35 mm, or video, high definition, projection, colour and sound duration: 7 min Number 4 in an edition of 4 plus 1 artists proof Purchased with assistance from Ivor Braka, Thomas Dane, Mrs Wendy Fisher and Zamyn 2011 T13425 Steve McQueen, courtesy Thomas Dane Gallery, London In Static, a camera ceaselessly circles around the Statue of Liberty in New York, alternating between distance shots that show the monument looming over docks and buildings and compelling close-ups that seem to capture every detail, from the torch held aloft, to the statues serene, unfocused gaze. The film was shot from a helicopter, whose relentless whirr fades in and out on the soundtrack, adding a sense of discontinuity that is reinforced by the contrasting speeds at which foreground and background move in front of the viewer. This circular motion around the static monument and the proximity of the statue present an alternative view of the landmark, an icon of freedom whose legend reads The Statue of Liberty: Liberty Enlightening the World. Through its close scrutiny, Static calls into question the monuments ability to maintain these values unscathed. Hala Elkoussy born 1974 HYPERLINK "http://www.tate.org.uk/art/artworks/elkoussy-on-red-nails-palm-trees-and-other-icons-al-archief-take-2-t13571"  On red nails, palm trees and other icons Al Archief (Take 2) 2009 355 photographs on paper, lithographs on paper, mirrors, painted boards, 8 monitors, glass vitrine containing beauty and household products, textiles, 3 chairs, 2 tables, rug, 3 ceiling lighting units, 12 wall lighting units, 2 lighting units, books and other materials overall display dimensions variable Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2012 T13571 Hala Elkoussy. Photo: Plamen Galabov. Commissioned and produced by Sharjah Biennial This work comprises a room with exposed stud-walls. While the exterior is left deliberately blank, the interior recreates a typical room in a Cairo home and is filled with a plethora of items including images, videos, furniture and objects. The title of the work suggests that it is an archive of icons. Elkoussys work is informed by personal recollection and stories that she has encountered, and nearly always uses her home city of Cairo as a backdrop. Using film and found imagery she creates complex installations interweaving visual and linguistic narratives. The artist builds a tension between fiction and reality in an attempt to examine perception, communication and the miscommunication of imagery. Mark Bradford born 1961  HYPERLINK "http://www.tate.org.uk/art/artworks/bradford-may-heaven-preserve-you-from-dangers-and-assassins-t13449" May Heaven Preserve You from Dangers and Assassins 2010 Printed paper on canvas image: 2601 x 3740 mm Purchased with funds provided by the American Patrons of Tate, Omar and Hind Alghanim, Poju and Anita Zabludowicz and a private donor 2011 T13449 Mark Bradford May Heaven Preserve You from Dangers and Assassins is a large, mural-sized canvas with the remains of advertising flyers collaged across its surface. These advertising flyers are taken from Bradfords neighbourhood in Los Angeles, where they were affixed to the fencing surrounding abandoned and derelict buildings. The painting specifically features flyers selling pest control services (the word bugs is repeated visibly across the central portion of the canvas) and there is an underlying statement about the social circumstances of the intended audience for these adverts. Embodying Bradfords innovative approach to painting through the process of collage and the distressing of the found materials he applies to his canvas support, May Heaven Preserve You from Dangers and Assassins is one of many works by the artist that addresses representations of the city, presenting an unstable system where beauty coexists with disorder. Bradfords method involves soaking, bleaching, tearing and sanding the paper of the flyers, emphasising physicality as a key formal element. Melanie Smith born 1965  HYPERLINK "http://www.tate.org.uk/art/artworks/smith-xilitla-t13534" Xilitla 2010 Film, 35mm, shown as video, projection, colour and sound duration: 24 min, 40 sec Purchased with funds provided by the 2011 Outset / Frieze Art Fair Fund to benefit the Tate collection 2012 T13534 Melanie Smith Made in collaboration with filmmaker Rafael Ortega, Xilitla is named after a small town in Mexico, the location of a garden created by the eccentric British aristocrat and surrealist collector Edward James (190784). It is dominated by fantastical concrete sculptures and architectural structures, which James had built among the tropical plants. In Smiths film, workmen carry a large mirror along the gardens jungle paths and through its pools, reflecting and displacing the landscape. The work refers to the work of American artist Robert Smithson, particularly his Mirror Displacements 1969, which he made in Mexico and described in an essay called Incidents of Mirror-Travel in Yucatan 1969, as well as the travelogue Incidents of Travel in Yucatan 1843 by the American writer John Lloyd Stephens, with illustrations by the architect Frederick Catherwood. Smith establishes a parallel between Catherwoods illustrations of ruined pre-Columbian sculptures and architecture in the tropical forests of the Yucatan and the surreal ruins of modernity found in the garden. Ed Atkins born 1982  HYPERLINK "http://www.tate.org.uk/art/artworks/atkins-death-mask-ii-the-scent-t13450" Death Mask II: The Scent 2010 Video, high definition, colour and sound (stereo) duration: 8 min, 19 sec Number 4 in an edition of 5 Purchased 2011 T13450 Ed Atkins, courtesy Cabinet, London. Death Mask II: The Scent is a single-screen video projection that presents an immersive sequence of interconnected images repeated and subjected to various digital manipulations and lighting effects. Working primarily with high definition video, a digital technology whose progressive verisimilitude increasingly points to its lack of a tangible body, Atkins treats his imagery as if it has a weight, density and effect that belong to the material world. Each work is transcribed with the process of its making. Visual edits are accompanied by specific sounds, while the artists breathing or whistling and clicks and switches of the editing process give an exaggerated presence to both the hardware and the figure behind the camera. Despite their fractured nature Atkinss films are immersive sensory experiences in which sound and image are choreographed for the maximum effect and the anthropomorphic aspects of objects are drawn out to trigger a lurch in the guts. Sarah Lucas born 1962  HYPERLINK "http://www.tate.org.uk/art/artworks/lucas-nud-cycladic-6-t13453" NUD CYCLADIC 6 2010 Nylon tights, synthetic fibre, breeze blocks and steel wire displayed: 1300 x 440 x 430 mm Purchased 2012 T13453 Sarah Lucas NUD CYCLADIC 6 is part of a series of sculptures by Sarah Lucas collectively referred to as NUDS. Each is made from tan nylon tights stuffed with pale-coloured fluff and twisted into an ambiguous, biomorphic form resting on top of a plinth made from breezeblocks stacked on a wooden base. The sheer nylon tubes contorted into looped and knotted forms are at once suggestive of fleshy body parts and smooth mottled marble. Limbs and orifices are implied but no fixed reading is possible: the suggestion of one body part dissolves as the hint of another emerges. The NUDS are a continuation of Lucass earlier work with stuffed tights and biomorphic forms. In 1997 she made an installation Bunny Gets Snookered, for which she stuffed pairs of nylon tights to make Playboy bunny forms, whose limp, dangling arms and passively lolling legs provide a representation of abject femininity. Ai Weiwei born 1957  HYPERLINK "http://www.tate.org.uk/art/artworks/ai-sunflower-seeds-t13408" Sunflower Seeds 2010 Porcelain overall display dimensions variable Purchased with assistance from Tate International Council, the American Patrons of Tate, the Art Fund, and Stephen and Yana Peel 2012 T13408 Ai Weiwei Sunflower Seeds consists of millions of individually handcrafted porcelain sunflower seeds with a combined volume of nearly ten cubic metres. Each ceramic seed was sculpted and painted by specialists working in small-scale workshops in the city of Jingdezhen, which is famed for its production of Imperial porcelain. For Ai, sunflower seeds are associated with the Cultural Revolution in China (196676), when propaganda images depicted the people as sunflowers turning towards Chairman Mao Zedong as the sun. The sharing of sunflower seeds as a common street snack was also a gesture of human compassion and friendship during a time of extreme poverty and repression. Sunflower Seeds is typical of Ais work, which draws upon the society and politics of contemporary China as well as ancient and traditional cultural artefacts whose function and perceived value he challenges. The work makes reference to the 2010 Unilever Series commission for which Ai covered the east end of the Turbine Hall with 100 million sunflower seeds. Stuart Brisley born 1933 The personal papers of Stuart Brisley, 1960s2010s Presented to Tate Archive by Stuart Brisley, November 2011 TGA 201114 Stuart Brisley. Photo: Maya Balcioglu Stuart Brisley, performance artist and sculptor, studied at Guildford School of Art (194954) and the Royal College of Art in London (19569). In the 1960s he adopted performance as the democratic basis for a new relationship between artist and audience, and developed a series of works through the 1970s, such as ZL 65 63 95C 1972, Ten Days 1978 and Between 1979. These works pushed the body through extended tasks, dramatising the conflict between human autonomy and state power. In the 1980s Brisley moved from performance to installations and object-making. His critical motivations remained unchanged: the production of an art capable of capturing the morbid symptoms of capitalist culture. The collection comprises: performance art material and relics; material relating to works such as ZL 65 63 95C and The Cenotaph Project 198791 (pictured) executed with his partner, Maya Balcioglu; source material for work completed at Peterlee and in Ireland; notebooks; correspondence; and exhibition catalogues. John Skeaping 190180 The personal papers of John Skeaping, 1920s1970s Presented to Tate Archive by Nicholas Skeaping, November 2011 TGA 201112 The estate of John Skeaping John Skeaping, sculptor, studied at Goldsmiths College (191517), the Central School of Arts (191719) and the Royal Academy Schools (191920). He won the prix de Rome in 1924 and married Barbara Hepworth in Florence the same year. They were both early enthusiasts for direct carving, exhibiting together several times. They separated in 1931 and were divorced. He was best known for his sculptures of animals, especially in his later years of horses. He taught at the Royal College of Art, where he became professor of sculpture, and was also known for a number of instructional books, starting with Animal Drawing 1936. He was made a Royal Academician in 1960. This collection comprises the extant personal papers of John Skeaping. It includes correspondence, a diary, draft writings, personal photographs, photographs of works and a small number of sketches. There is also a range of printed material, including exhibition catalogues, press cuttings and copies of Skeapings books. Programme Tate Britain This was a momentous year for Tate Britain. In May 2012 we reached the fundraising target of 45 million for the Millbank project, thanks to a substantial grant from the Heritage Lottery Fund, 1 million from Tate Members and more than 40 million from private individuals and foundations. Getting ready to rehang The new galleries will be fully rehung by May 2013. A chronological rehang of the BP British Art Displays will represent all periods of the collection, from 1550 to the present day. A feature of the new approach to hanging the collection is the well-developed programme of Focus displays. These look in depth at a moment in art history or an individual artist. Rubens and Britain, for example, showed how the Flemish painter developed his connections with Britains monarchy through a group of fourteen key works alongside related archives and documents. Focus displays this year included two important photography shows: Roger Fenton and Don McCullin. To herald the start of the renovation, the Manton stairwell was wrapped with a huge wall drawing by David Tremlett, Drawing for Free Thinking, which was unveiled in September and will remain until at least 2016. The artist and his team of assistants worked over several weeks with pastel crayons to realise the work. Using the collection in new ways The first in a series of themed exhibitions inspired by the collection opened in January. Migrations explored how British art has been shaped by the movement of artists and the circulation of art and ideas. A number of spectacular loans joined Tate works in this show, including two rarely seen portraits by Anthony van Dyck, Charles I 1636 and Henrietta Maria 1636, lent by the Chequers Trust. Temporary exhibitions complement the collection At the heart of the programme at Tate Britain were innovative temporary exhibitions. Picasso & Modern British Art explored Pablo Picassos lifelong connections with this country, revealing the artists impact on British modernism through seven artists for whom he proved an important stimulus. The climax of the central room was two of Picassos great masterpieces set side-by-side: the sumptuous Reading at a Table 1934, lent by the Metropolitan Museum of Art in New York; and Nude, Green Leaves and Bust 1932, one of the worlds most expensive paintings, generously lent to Tate by its new owner. If Martins own reputation has shown its own Lazarus-like tendencies in recent years, it is good to see him now, fully out of the tomb, wrote Robin Blake in the Financial Times after he saw Tate Britains presentation of John Martin: Apocalypse. It brought together iconic paintings including Belshazzars Feast 1820, not seen in public for twenty years, and The Destruction of Pompeii and Herculaneum 1821, painstakingly restored by Tates conservation team. Other significant moments this year included the gallerys first exhibition devoted to architecture a retrospective of the architect James Stirling presented in the Clore Galleries, which he himself designed. An exhibition of the early work of Barry Flanagan eloquently illuminated his artistic journey to the point at which he began making his signature bronze sculptures of hares. Chris Dercons first year as director of was marked by discussions about the programme for the opening of the Tanks, the worlds first museum galleries dedicated to performance art. In the summer, presented a season of photography, with displays across the gallery reflecting our commitment to collecting and presenting this medium. Increased collaboration with cultural institutions, large and small, from around the globe has allowed to bring the diverse political and social changes of recent times, reflected in artists work, to wider audiences. Major exhibitions and the political landscape Joan Mir: The Ladder of Escape was the first major exhibition of Mirs work in London for nearly fifty years. The exhibition explored the complexity of his response to the political unrest of his time and the influence on his work of his Catalan identity. Organised by Tate and the Fundaci Joan Mir in Barcelona, in association with the National Gallery of Art in Washington, the exhibition attracted almost 300,000 visitors in London. Throughout his long and outstanding career, Gerhard Richter has also responded to significant moments in history as demonstrated in his radical fifteen-part work, 18 October 1977 1988, based on images of the Baader Meinhof group. Gerhard Richter: Panorama opened in October to coincide with the artists eightieth birthday. Jonathan Jones of the Guardian declared: Everyone who lives in the modern world should see this exhibition. Alighiero Boetti: Game Plan exposed Boettis engagement with geopolitics and his travels to Ethiopia, Guatemala and Afghanistan. One of the highlights of this exhibition were the Mappa, embroideries he created with craftswomen in Kabul recording global political change. Support of Ai Weiwei In April 2011 Ai Weiwei, whose Unilever Series commission was on display until May, was arrested in China. His incarceration until June, which prevented him from speaking freely as an artist, compelled Tate to support his cause with Release Ai Weiwei displayed on the front of , and to commission Hamish Fultons Slowalk (In support of Ai Weiwei). A hundred people participated, taking small contemplative steps in unison on the ramp at the entrance to the Turbine Hall. Ai Weiweis sculpture Sunflower Seeds 2010, comprising around a tenth of the seeds from his Unilever Series work, went on display from June until February and was acquired by Tate. Working with artists and institutions around the world A shift in emphasis in the Level 2 series established a series of collaborations with cultural institutions from around the world such as the Centre for Contemporary Art, Lagos, SALT in Istanbul, and the Sala de Arte Pblico Siqueiros in Mexico City. These partnerships have placed international contemporary artists firmly at the heart of s exhibition programme. Yayoi Kusama attended the opening of her exhibition at , the first time the eighty-year-old artist had left Japan for twelve years. Kusama made a new work for the exhibition entitled Infinity Mirrored Room Filled with the Brilliance of Life, an immersive installation of mirrors and myriad tiny coloured lights. It delighted visitors, of whom there were 10,000 in the opening week. Photography and film new challenges and new displays The power of photography was the theme for summer 2011. Over a four-year period, the artist Taryn Simon travelled around the world recording in photographs the bloodlines of families from a variety of cultures. This new body of work, A Living Man Declared Dead and Other Chapters I-XVIII 2011, confronted visitors with the facial expressions impassive stares, smiles of the participants whose lives are hinted at in narrative texts. This absorbing exhibition was complemented by the Diane Arbus ARTIST ROOMS display of thirty works and New Documentary Forms, which revealed how five contemporary artists from the collection used the camera to question the power of photography as a documentary medium. The twelfth commission in the Unilever Series, FILM by Tacita Dean, was an eleven-minute looped silent film projected onto a freestanding monolith at the east end of the Turbine Hall. It was the first work in the series to be devoted to the moving image and was a celebration of analogue filmmaking techniques, which are threatened by the ascendancy of digital technologies. s critically acclaimed film programme is now well established and the gallery is recognised as one of the most important places for the presentation of film as art. Several important film seasons included a major survey of the work of Barbara Hammer. In response to the riots in London and elsewhere in August 2011, Black Audio Film Collective presented documentation about an earlier moment of disturbances in cities in Great Britain. Historic performance by Michael Clark Company The tension between classical form and rock energy does not just fill the hall, it reverberates thrillingly against its walls, wrote Judith Mackrell in the Guardian after the historic performance in the Turbine Hall devised by the celebrated choreographer Michael Clark. This landmark piece, entitled Sh, involved members of the public performing alongside professional dancers, bringing a particular vitality and new audiences to . Tate Liverpool In 201112 Tate Liverpool continued to be the most popular modern art gallery outside London, and for the first time was able to open to the public seven days a week throughout the year. The programme remained international in its scope, ambition and partnerships and reached new heights in terms of our long tradition of interweaving learning and curatorial programme planning and thinking. An international gallery with regional impact Ren Magritte: The Pleasure Principle continued Tate Liverpools tradition of presenting major summer exhibitions that redefine the contemporary relevance of a major figure in modern art. It attracted over 80,000 visitors, and toured to the Albertina, Vienna. It was accompanied by the Month of Magritte family events, as well as a sell-out Magritte Summer School programme. The exhibition was paired with a Robert Therrien ARTIST ROOMS display. Alice in Wonderland established a potential model for exhibitions that provide a larger audience with a familiar entry point into visual art. It gave Tate Liverpool its most popular winter season since 2008, attracting a wide and diverse audience from all over the region. The literary point of departure was explored in a variety of media and served as an occasion to commission contemporary artists such as Jimmy Robert and Mel Bochner. The exhibition, which toured to MART Rovereto and Kunsthalle Hamburg, was a showcase for Tate Liverpools longstanding and pioneering learning programme in art, health and wellbeing, in association with Mersey Care NHS Trust. The exhibition also delivered a popular academic programme, with a symposium with speakers including Dame Gillian Beer and Marina Warner. Hat designer Philip Treacy was the latest well-known creative figure to put together a collection display as part of the DLA Piper Series: This is Sculpture. Intuitive connections and personal passions guided his selection, which included a number of his surreally shaped wooden hat blocks alongside works from the Tate collection. Treacys selection featured work by Francis Bacon, Jackson Pollock and Andy Warhol, as well as newly acquired contemporary works. Other achievements in the year included the first major UK exhibition for the artist Charline von Heyl, co-curated with Kunsthalle Nuremberg. The show reflected her commitment to inventing new universes through abstraction in painting, presenting a good contrast to the simultaneous first showing of the newly acquired Martin Creed ARTIST ROOMS display in the Wolfson Gallery. Charline also gave the 2012 Tate Liverpool Hope lecture to an enthusiastic, crowded auditorium at Liverpool Hope University. Matching programme and audience Tate Liverpools ambition is to think of audience development and programme as being integrated. This is particularly evident in the way that our Learning team works with exhibitions and displays to conceive the whole museum as a learning machine offering multiple ways of acquiring knowledge. The learning spaces at Tate Liverpool, including a new study area, were refurbished with the support of a grant from Biffa and reopened at the end of March 2012. Art Dock now offers families and young people a family zone, a study space and a large open-plan studio with magnificent views of the River Mersey, for use by our many community groups. Tate Liverpool has continued to develop a wide supporter base for its programmes across the region. The number of Members who have opted to associate themselves with Tate Liverpool has increased five-fold since 2006, giving it the largest membership of any arts organisation in the region. Tate St Ives This year Tate St Ives appointed Jamie Fobert Architects to design a major extension to the original building. The new spaces will make possible a more continuous display of the St Ives artists work and an even more ambitious exhibition programme. Tate St Ives is well known for its engagement with the local community and it contributes an average of 16 million to the local economy each year. Interactive summer exhibition The centrepiece of the Summer Exhibition 2011 was Martin Creeds Work No.210 Half the air in a given space 1999. He filled the vast, curved, glass-fronted gallery overlooking the Atlantic Ocean with 23,000 white balloons. Visitors could walk through this immersive installation and experience the light from the shore through the skins of the balloons. They were also invited to take part in Measuring the Universe 2007 by Roman Ondk, a new gift to the collection. The heights of visitors were recorded on a wall in pen, the marks building up to form a dense, black band around the gallery walls. The exhibition also featured an Agnes Martin ARTIST ROOMS display, and work by Lucio Fontana, Naum Gabo, St Ives artist Margaret Mellis, Fischli & Weiss and Anri Sala. Martin Creed and his band performed at the opening event. International programme at St Ives The Indiscipline of Painting, created in partnership with the Mead Gallery in Coventry, was an international group exhibition of forty-nine artists, selected by artist Daniel Sturgis. Focused on how the language of abstract painting has been revisited and reinvented over the past fifty years, the show attracted a large student audience, as well as arts practitioners and historians. A high point was the symposium led by an international panel including writer, critic and curator Terry Myers and artist Mary Heilmann. In Simon Fujiwara: Since 1982 the young British/Japanese contemporary artist re-examined his childhood in Carbis Bay a small town only a mile along the coast from St Ives and explored the legacies of twentieth-century modernism in Cornwall. This was the first major exhibition in the UK for this artist of growing international reputation, now based in Berlin. Connecting with the community Tate also runs the Barbara Hepworth Museum and has developed the Barbara Hepworth Talk Series to support this. The artist Linder Sterling, a well-known figure in the punk and post-punk scene in Manchester, spoke about her first encounter with Hepworths sculpture garden by torchlight on a dark All Hallows Eve. In Linder Sterling: Piercing the Spirit, she drew links between acupuncture and Hepworths piercing of sculptural forms. The Tate Research Centre, Creative Communities, continues to grow. In October 2011 Tate St Ives hosted the Cornwall Workshop, a six-day intensive residential workshop based at Kestle Barton, Lizard. Its aim was to examine the interests and concerns of artists, curators and critics in Cornwall and south west England. Workshop leaders included the distinguished American artist Mark Dion and the Chicago-based critic Lori Waxman. Tate St Ives was one of only four UK art galleries selected to take part in the national project The Great Art Quest, created by The Princes Foundation for Children and the Arts. Artwork by 150 schoolchildren went on display at the gallery, the culmination of the project involving eight to eleven year olds from local schools. Artist Vicky Wiltshire and storyteller Craig Johnson worked with teachers and educators to introduce the children to inspiring works of art. The children visited the Barbara Hepworth Museum and Sculpture Garden and learned about sculptural processes. Wiltshire said they reported feeling like detectives looking for clues as they examined the bronze foundry stamps and signature details. Programme Tate Britain Exhibitions Dates Single Form 31 Jan 4 Sept 2011 Susan Hiller 1 Feb 15 May 2011 Watercolour 16 Feb 21 Aug 2011 James Stirling: Notes from the Archive 5 Apr 21 Aug 2011 The Vorticists: Manifesto for a Modern World 14 June 4 Sept 2011 John Martin: Apocalypse 21 Sept 2011 15 Jan 2012 Barry Flanagan: Early Works 19651982 27 Sept 2011 2 Jan 2012 Picasso & Modern British Art 15 Feb 15 July 2012 Migrations: Journeys into British Art 31 Jan 12 Aug 2012 BP British Art Displays Ongoing Exhibitions Dates The Unilever Series: Ai Weiwei 12 Oct 2010 2 May 2011 Gabriel Orozco 19 Jan 25 Apr 2011 Level 2 Gallery: Out of Place 11 Feb 17 Apr 2011 Joan Mir: Ladder of Escape 14 Apr 11 Sept 2011 Photography: New Documentary Forms 1 May 2011 10 Apr 2012 Level 2 Gallery: Burke + Norfolk 6 May 10 July 2011 Taryn Simon 25 May 2011 2 Jan 2012 Level 2 Gallery: Contested Terrains 29 July 16 Oct 2011 Gerhard Richter: Panorama 6 Oct 2011 8 Jan 2012 The Unilever Series: Tacita Dean 11 Oct 2011 11 Mar 2012 Level 2 Gallery: I decided not to save the world 4 Nov 2011 8 Jan 2012 Project Space: No Lone Zone 27 Jan 13 May 2012 Yayoi Kusama 9 Feb 5 June 2012 Alighiero Boetti: Game Plan 28 Feb 27 May 2012 Collection displays Ongoing Tate Liverpool Exhibitions Dates A Sense of Perspective 1 Apr 5 June 2011 Ren Magritte: The Pleasure Principle 24 June 16 Oct 2011 Alice in Wonderland 4 Nov 2011 29 Jan 2012 Charline von Heyl 24 Feb 27 May 2012 DLA Piper Series: This is Sculpture Ongoing Tate St Ives Exhibitions Dates Simon Starling: Recent History 5 Feb 2 May 2011 Tate St Ives Summer Exhibition 2011 14 May 25 Sept 2011 The Indiscipline of Painting 8 Oct 2011 3 Jan 2012 Simon Fujiwara: Since 1982 18 Jan 7 May 2012 Audiences Engaging audiences Tate aims to take a wider range of audiences closer to art and ideas. It does this by creating programmes that act as a catalyst for learning, from one-off visits to long-term engagement. This year has seen the development of new learning programmes supported by the Paul Hamlyn Foundation across all four Tate sites. The relaunch of the Clore Learning Centre in May 2011 at has increased our capacity to create new kinds of activity and has enabled 49,000 visitors to participate in programmes in the revitalised spaces, including 11,000 who have attended the new Open Studio sessions for families and 23,000 who took part in Yayoi Kusamas Obliteration Room. Young people leading on how they learn In spring 2011 Tates young peoples groups changed their name to s. Young creative people come together to plan activities for their peers and these programmes have increased in scale and ambition. Infinite Kusama took place in the Turbine Hall at and attracted over 2,500 people. It comprised film, fashion, sound and sculpture workshops as well as the Hello Cube, an interactive installation that responded to Twitter. The event ended with a silent disco in the Turbine Hall. Tate also organised a conference for professionals working with children in care entitled Seeing Through, supported by John Lyons Charity. This was a culmination of a three-year, artist-led project with young people in care in partnership with Ealing, Harrow and Westminster. Of those taking part in The Unilever Series: turbinegeneration, over 32,000 are young people, from 47 different countries. Approximately 70% of them engage in the programme each month. Schools and colleges, wherever they are in the world, can choose an online international partner and create, upload and discuss art and ideas, facilitated by Tate. This approach enables participants to lead their own learning. The children are learning to create without being told what to do, said one primary school teacher in China. Reaching new audiences in unexpected ways As part of the Learning teams new approach and commitment to collaboration and participation, Picasso & Modern British Art inspired a partnership between Tate and English National Ballet. Visitors took part in activities and watched rehearsals of the world premiere of three newly commissioned ballets. Mathematicians in the first half of the twentieth century constructed topology as a general theory of space. Within a few years, this new theory was being used outside its original field. Some of the worlds leading intellectuals, artists and writers came together at in a series of lectures and seminars to discuss its wider implications as part of Topology, a ground-breaking, three-year project developed in collaboration with NTNU Trondheim (Norwegian University of Science and Technology), Goldsmiths, University of London, Ohio State University and the Middlesex University Centre for Freudian Analysis and Research. Tate has increased its highly regarded British Sign Language and Touch Tours in the galleries. An expanded training programme for staff enabled us to develop expertise across the organisation. Marcus Dickey Horley, who developed the programme and is Curator of Access Projects, was shortlisted for the Civil Service Diversity and Equality Awards 2011. A free resource was introduced for the general public to use at Tate Britain. A is for Britain provokes discussion about the Tate collection and the building. It developed from research that examined visitors experiences of the gallery and the displays. Two new resources for teachers were also introduced, informed by artists engagement with the collection and programme. All our teachers resources are available online and more than 6,000 packs are downloaded each month. Working with local communities The Community Learning team provides Art into Life sessions at for nearly a thousand people every year. These popular sessions show communities and professionals how to maximise their access and experience within the galleries, and will be extended to Tate Britain in 2012. The Big and Small project at Tate Britain, which builds relationships with local families, is now in its third successful year. Over 3,000 parents and children who had never visited before took part in projects. Eighty-seven per cent said they would visit Tate again, and 90% reported increased confidence in engaging in arts programmes with their children. One parent said: Its going to give us the confidence in the future to come back and be able to walk into the gallery. Regeneration and partnerships We have strengthened our approach to working with audiences locally through the regeneration and partnerships programme. The Project gave us an opportunity to work closely with communities in south London, to find out what they envisage for in the future. We are also bringing artists and local communities together in the spaces where people live, work and socialise. is a partner in the South London Art Map, a guide to art spaces in Bankside, Peckham and Deptford. worked closely with local gallery Contemporary Art Peckham Space. Artist Barby Asante was commissioned to look at south Londoners personal relationships with moments in black music history. She transformed Peckham Space into an open archive and asked the public to contribute. Young people from the Leaders of Tomorrow mentoring programme in Peckham identified songs which had inspired them and a limited-edition vinyl record was produced and distributed. A daytime disco took place outside the Ritzy cinema in Brixton as part of the project. Visitor figures / April 2011 March 2012 Visitors to the galleries Tate Britain 1,487,063 4,766,209 Tate Liverpool 606,772 Tate St Ives 206,251 Total 7,066,295 Onsite learners People participating in learning programmes and activities at Tate galleries Total 394,405 Outreach participants People participating in off-site learning programmes and activities Total 322,391 Children in organised education sessions Total 209,401 Unique visits to Tate Online Total 14,327,000 Online and media This year will be remembered for the enormous strides we made in the digital arena. Tate is the leading public gallery or museum in the UK in the social media space. It has attracted over 620,000 followers on Twitter and 370,000 likes on Facebook, and has one of the most popular and influential online presences in the world. Tate launches its new website In March 2012 Tate launched its new website based on the pillars of collection, community and commerce. In its first month it had 1.7 million unique visitors. Social media is deeply embedded in the site and every event, exhibition and blog post has Facebook, Twitter and Google+ buttons so that users can share Tate content with friends. Building the new website was a mammoth task but it encouraged a rethink of what an art gallery website could be: a place for conversation and dialogue, as well as a place to access information. The redesign involved moving over 420,000 pages from the old Tate website. We introduced groundbreaking features that mean that the site can now be rapidly expanded in the future. At its heart is the Art & Artists section, which allows visitors to search the collection through artistic movements, geographical areas, artists and historical periods. In the extensive list of subject areas, for example, 290 collection works can be found related to the Old Testament, among them William Blakes God Judging Adam 1795 and Barnett Newmans Adam 19512. Users can see which collection works are on display at each of the four Tate galleries, flick through the pages of JMW Turners sketchbooks, and view their selected artworks as a full-screen slideshow. As part of Picasso & Modern British Art, Tate curator Helen Little interviewed Antony Penrose about his recollections of Picasso when the artist visited his parents. The interview is one of hundreds of fascinating items on the new Context & Comment section of the site. This area is alive with voices and ideas in articles, blogs, audio and video material, all of which have discussion threads for audience members to add their thoughts. Social media and international audiences Online audiences around the world were reached through cutting-edge projects and initiatives. In an ongoing partnership with BMW, five international artists were commissioned for BMW Tate Live: Performance Room, a pioneering programme of live online performances. As part of English National Ballets residency at Tate Britain, Instagram streamed photographs of dancers warming up behind the scenes to over 4,000 mobile phone users. Tate invited influential fashion bloggers to the Yayoi Kusama exhibition to blog and tweet, creating an online Kusama frenzy reaching over a million people on Facebook via the Topshop Inside Out blog. Tate Movie Project broadcast on BBC On 23 July 2011, Trafalgar Square was the scene of the first public screening of the Tate Movie Projects The Itch of the Golden Nit. The film was created by thousands of children across the UK, helped by some of the nations greatest creative talent, including Miranda Hart, Vic Reeves and Aardman Animations, the brains and hands behind Wallace and Gromit. Their work was seen in cinemas around the country and broadcast on the BBC. The Tate Movie Project, part of the Cultural Olympiad, was funded by Legacy Trust UK and BP, with additional support and resources from the BBC. Orla Bush, age 12 from Hexham, invented one of the movies main characters, Captain Iron Ears. She said: I couldnt believe that one of my drawings had been chosen I never thought something like this could happen to me. I was so happy and totally speechless. The project won a Bafta and set the Guinness World Record for the animation with the most individual contributors, while the partnership between BP and Tate won the prestigious Hollis Innovation of the Year award in March 2012. Tate Shots, apps and games Tates in-house film production unit make films of international artists. This years highlights include Gerhard Richter in conversation with Nicholas Serota and an in-depth interview with Tacita Dean about her Unilever Series commission. In other films, famous figures were asked to choose works from the collection with a particular resonance for them. Jon Snow, who had covered the Stephen Lawrence case over many years, talked about Chris Ofilis painting No Woman No Cry 1998; and Lauren Laverne talked about muses in relation to Millaiss iconic painting, Ophelia 18512. A range of pioneering iPhone apps were developed this year. Particularly popular is Race Against Time, which follows a character encountering key moments in art history. The award-winning ARTIST ROOMS: The Game was launched in August to give younger audiences the chance to put together their own virtual exhibitions by sharing work in the collection with their friends. Partnerships across the nation A significant achievement this year has been the advance made in strengthening partnerships with regional galleries across the UK. In a challenging economic climate, organisations can support each other through the exchange of ideas and expertise and the sharing of collections. The Plus Tate network comprises eighteen art organisations and Tate also works with three major regional museums on the Great British Art Debate project. ARTIST ROOMS were presented at fourteen venues this year with the continued support of the Art Fund, and Art in Yorkshire Supported by Tate drew 1.5 million visitors to twenty-seven exhibitions. A record year for collaboration Last year Tate lent more works from the collection than ever before: 1,621 works to 279 venues across the world. Each loan requires great energy from professionals across the gallery who ensure that the artworks are properly checked, prepared and transported. This commitment means that more people are able to enjoy Tates collection in their local galleries. Across the UK the appetite for modern and contemporary art continues to grow. Last year three Plus Tate partners opened their new galleries to the public. Turner Contemporary in Margate and Hepworth Wakefield have enjoyed enormous success since opening in spring 2011, attracting more than 450,000 visitors each, twice the number anticipated. In September, firstsite in Colchester opened the doors of its golden-clad building designed by celebrated architect Rafael Violy. Works from Tates collection by Naum Gabo, Ben Nicholson, Barbara Hepworth and Piet Mondrian were displayed in the inaugural exhibitions. More recently Tate has lent Rodins The Kiss 19014 to Turner Contemporary, which was installed in the Sunley Gallery overlooking the sea, and eighty works by Turner were shown in the Turner and the Elements exhibition. Another Plus Tate partner, BALTIC in Gateshead, celebrated its tenth birthday by hosting the Turner Prize the first time it had been presented outside Tate. After drawing huge crowds in the north-east, the Turner Prize will now be hosted in alternate years at a venue outside Tate, the next being Derry-Londonderry as UK City of Culture in 2013. Plus Tate continues to gain momentum and during the last year has grown into a resourceful, self-organising network that actively collaborates on innovative projects. This approach was acknowledged with support from JP Morgan to develop a learning programme for young people with a focus on self-led evaluation and professional development for staff. The partnership will come to fruition in the summer of 2012 when each partner will run informal programmes created for and by young people. Art across the country The Great British Art Debate a four-year partnership between Tate Britain, Tyne & Wear Archives & Museums, Norfolk Museums & Archaeology Service and Museums Sheffield supported by the Heritage Lottery Fund continued this year. The exhibitions Watercolour and Restless Times were the inspiration for a number of events at three music festivals across the country: Latitude in Southwold, Camp Bestival in Dorset and Underage in Victoria Park, London, reaching more than 28,000 young people. The final collaborative exhibition Family Matters: The Family in British Art opened at Norwich Castle Museum before travelling to the Millennium Galleries in Sheffield and will conclude at Tate Britain in autumn 2012. The project Art in Yorkshire Supported by Tate took Yorkshire by storm through a year-long programme of exhibitions and events across nineteen galleries. Over a hundred works from the Tate collection went on display, seen by 1.5 million people. This was an increase in visitor figures on the previous year of 60% overall, with some galleries recording a 300% increase. More than 8,000 people downloaded the Art in Yorkshire app. A highlight was the display of David Hockneys Bigger Trees Near Warter 2007, donated by the artist to Tate in 2008. In total, more than 240,000 people saw this vast painting of the local landscape over the course of the year at York Art Gallery, Ferens Gallery in Hull and Cartwright Hall in Bradford. ARTIST ROOMS tour prepares for its fifth year The important project ARTIST ROOMS was established in 2008 through the generosity of Anthony dOffay, with the assistance of the National Heritage Memorial Fund, the Art Fund and the Scottish and British Governments. It is presented jointly by Tate and National Galleries of Scotland and, by the end of its fourth year, will have been seen in ninety-one exhibitions and displays at forty-four UK venues. ARTIST ROOMS on Tour would not have been possible without the generous support of the Art Fund. ARTIST ROOMS exhibitions have already been viewed by 18 million people, and the collection continues to grow, due in no small part to the energy of Anthony d'Offay and its ever stronger reputation. June marked the start of a five-year research project examining ARTIST ROOMS led by the University of Edinburgh. In addition an Exeter Business School Collaborative Doctoral Studentship will investigate the outcomes of young peoples visits to the tour. Martin Creed became the first artist to offer a whole room of his work as a gift to ARTIST ROOMS. This significant development was due to Anthony dOffays continuing commitment to the programme and the work was shown for the first time at Tate Liverpool in February. ARTIST ROOMS displays attract significantly enhanced visitor numbers to associate venues. In 2011 Southampton City Art Gallery and John Hansard Gallery collaborated on the largest presentation of Warhol ever shown in the UK outside London. Southampton City Art Gallery welcomed over 27,700 visitors, more than double the average number for the same period. The Francesca Woodman display at the Ferens Art Gallery in Hull received over 4,000 visitors in its first three weeks, a major achievement for this important regional gallery. International partnerships This year our networks of international relations and collaborations have widened and diversified. Professional exchange with institutions in Europe and North America continues, and momentum is building for future projects with artists, curators and organisations in Africa, the Middle East, Latin America, and across countries in AsiaPacific. Lending the collection Our international loans programme almost doubled in 201112, with 516 works from Tates collection lent to 132 venues in twenty-five countries. For the first time, Tate lent to institutions in Argentina, Chile and Slovenia. Tania Brugueras Tatlins Whispers #5 2008 was also the first work of performance art to be lent from the collection. This complex work, involving two mounted police demarcating space around the audience, was shown at the International Centre of Graphic Arts (MGLC) in Ljubljana, Slovenia. Mattas oil painting Black Virtue 1943 travelled to the Centro Cultural Palacio la Moneda in Santiago, while Carlos Cruz-Diezs Color into Space was lent to the Museo de Arte Latinoamericano (MALBA) in Buenos Aires. Curatorial collaboration I Decided Not to Save the World was shown at , as part of the Level 2 series, a collaboration based on reciprocal curatorial residencies with partner institutions beyond Europe and North America. SALT in Istanbul and Tate presented art by four artists, with Yto Barradas works using humour and satire to address the rapid modernisation of Morocco. Palm Sign, a metal sculpture of a palm tree illuminated with lightbulbs in the colours of taxi cabs in the artists home town of Tangiers, reflects on the implicit exoticism of the palm, a colonial import rather than a native tree. Among the highlights of Tates touring exhibition programme was the large-scale international exhibition William Blake and British Visionary Art, Tates second collaboration with the Pushkin State Museum of Fine Art, Moscow, in partnership with the British Council. It comprised 110 works, including many of Blakes best-known images such as The Ghost of a Flea c181920, along with the recently discovered, exquisitely hand-coloured, etchings from Blakes prophetic work, The First Book of Urizen 1796, c1818. This was the first major exhibition of Blakes visionary artworks and poetry to be held in Russia, where it was enjoyed by 238,000 visitors. Tate continued to work with museums and galleries around the world to tour their loan exhibitions. Tate Liverpools Alice in Wonderland exhibition was a notable example, which travelled to MART in Rovereto, Italy, and the Hamburger Kunsthalle in Hamburg. Working with the Art Gallery of South Australia, the National Gallery of Australia and Art Exhibitions Australia, Tate undertook detailed preparatory work on Turner: The Makings of a Master, a major exhibition which will tour to Adelaide and Canberra in 2013. A further partnership with Asahi Shimbun will bring this show to Japan, to be presented by Tokyo Metropolitan Museum and Kobe City Museum. Tates partnership with Pinacoteca do Estado de So Paulo in Brazil will make possible an ambitious international survey of the work of one of Latin Americas most important modernist artists, Mira Schendel. The exhibition is part of s autumn programme in 2013 and Pinacotecas 2014 programme. Exchanging expertise In January 2012 Tate painting conservator Natasha Walker completed a residency at the National Gallery of Zimbabwes branch in Bulawayo, reciprocating an earlier residency at Tate by Lilian Chaonwa. There she worked with Zimbabwean colleagues to re-stretch and conserve three works in their collection by British artist Chris Ofili experimental early paintings made by him in Zimbabwe in 1992. This exchange not only enabled treatment of the paintings but also provided a rare opportunity for conservators from the National Gallery of Zimbabwe and Tate to share technical knowledge and expertise. The project was an example of the strengthened dialogue between Tate and art organisations in Africa, and coincided with the launch of Tates Africa Acquisitions Committee in 2011. Members of staff across many Tate departments are in daily professional exchange of many kinds, frequently representing Tate at conferences and events around the world, giving informal advice as well as forming ambitious international partnerships. Cumulatively, this demonstrates Tates commitment to increase access to art and ideas for audiences wherever they are in the world. Improving Tate People and our environment Tate could not realise its ambitions without the dedication and contribution of all those who work here. Taking care of our people and ensuring we are developing, supporting and recognising their contributions requires that the necessary organisational structure is in place. The Human Resources department has been reshaped to reflect three areas: organisational development, helping Tate and its staff respond to the challenges that the coming years will bring; employee engagement, focusing on communications with staff, responding to their needs and recognising their contributions; and resourcing, ensuring that Tate draws on a more diverse audience for potential recruits and selecting the best candidates available. Working for the future In 201112 we undertook a number of initiatives to ensure that Tate combines the skills it will need in the future with the knowledge and expertise that is the foundation of its success. We have ensured that staffing structures meet those needs, carrying out reviews at Tate Liverpool, Tate Britain and in the Estates department. We have also focused on employees well-being, addressing such issues as collaboration and the working culture at Tate. A programme of training in dignity and respect equipped staff with the awareness that builds confidence, and spread knowledge of the latest developments. Over the coming year, we will build on this to extend the training to employees in Tate Catering and Enterprises. We have continued to embed Tate Success Factors, our competency framework, into recruitment and selection and performance review processes and introduced 360-degree feedback for directors, laying the foundations for further leadership development and encouraging a culture of learning and feedback at the top of the organisation. The economic environment remains challenging and the constraints on public sector pay have affected our ability to address pressures around pay progression and reward. In response we have done all we can to improve the working environment, the benefits provided and how we support staff. An Employee Assistance Programme was introduced, which provides access to support on a wide range of personal and work-related matters. Finally, we have developed Tate Benefits, a scheme that gives access to discounts in a number of shops and organisations, and Tate Social, a fund to support sport and social activities. Opening up Tate A new online system has transformed the way we recruit, improving efficiency and transparency. Volunteers continue to play an important role, opening working at Tate to new people: more than 300 people give their time freely as guides and visitor hosts in Tates galleries or assisting in areas such as Tate Archive and conservation. Introduced in 2012, new internship and volunteering policies seek to ensure that everyone can access opportunities, no matter what their background. Such work is part of a wider concern and the new Tate for All action plan continues to increase the diversity of our audiences, workforce, programme and collection. More widely, Tate has worked with partners to advance equality and diversity in the cultural sector and the UK. For example, South Bank University published Tate Encounters, investigating the impact of cultural diversity policies on the composition of Tates audiences. Work on a visitor care strategy has also begun, looking at the best ways of delivering services to disabled people and, as part of this, Tate has improved the methods by which it gathers and responds to visitor feedback. Like the changes we are making to the way that Tate works, the steps we are making in respect of diversity are part of adapting Tate to reflect the workforce from which it draws and the audiences which it serves. The fulfilment of Tates mission depends on its workforce and, as much as the collection and the buildings, the people who work here are part of the value that it offers. Sustainability successes Tate continues to reduce carbon emissions and its use of natural resources. Carbon emissions have decreased by 19% from 2008 to 2012, beating our target of 15%. Our early action on carbon reduction was recognised in the first year of the national Carbon Reduction Commitment Energy Efficiency Scheme, with Tate being ranked in the top quartile of over 2,500 participants. Another area of success was Tates water use, which has fallen by 37%, and the total waste generated has been reduced by 39% since 2009. Overall recycling rates have improved significantly, due in part to the introduction of food waste recycling at . From May 2011, zero waste from office and catering operations at has been sent to landfill. To help reduce Tates travel carbon footprint, Skype facilities were introduced this year, alongside new bike racks and cycle safety and maintenance sessions. Tates Green Reps also created and delivered a successful first Green Week in September 2011. Funding and trading Tates government funding is critical to our operations but the majority of our income, this year 61%, is generated through trading operations and through the support and generosity of a wide variety of organisations and individuals in the form of gifts, bequests, sponsorships and partnerships. Continuing pressure on government funding means philanthropic support is increasingly important. Public funding and foundation support The generosity of a number of funding bodies in the UK and internationally helped us enrich our exhibition programme. Support was received from the Institut Ramon Llull for Joan Mir: The Ladder of Escape, Art Mentor Foundation Lucerne for The Vorticists: Manifesto for a Modern World and The Henry Moore Foundation for Simon Fujiwara, Simon Starling and Barry Flanagan. Significant funding also supported capital projects, learning and access programmes. The Heritage Lottery Fund awarded 4.95 million to the Tate Britain Millbank Project and for the digitisation of the national art and archive collections. The Paul Hamlyn Foundation is now supporting the development of learning programmes across all Tate sites and the Skills Funding Agency supported Signing Art, a new programme of events for British Sign Language users at Tate Britain. Long-term partnerships The support of many long-term partners enables us to plan ahead in imaginative ways. In December, BP announced their support for a further five years of the BP British Art Displays, continuing as Tates longest-standing corporate supporter. Bloomberg continued to support interpretation at and the acclaimed Tate Shots series. Sothebys support of the Tate Britain commission, now with a focus on the collection, made possible the unveiling of Patrick Keillers work in the Duveen galleries. Unilever continues to support turbinegeneration, the online, international education project that connects schools, galleries, artists and cultural organisations worldwide. DLA Piper continued to sponsor the collection displays at Tate Liverpool, helping us to present the collection in new and dynamic ways. Following the successful collaboration on the Chris Ofili exhibition at Tate Britain in 2010, major support came from Louis Vuitton for Yayoi Kusama and the Infinite Kusama programme for young people. To these long-term partners we were delighted to add BMW. This four-year partnership will help us to develop performance and interdisciplinary art programmes. Joan Mir attracted a syndicate of corporate sponsors including British Land, RLM Finsbury, Goldman Sachs and the JCA Group, a number of which regrouped to support Picasso & Modern British Art alongside the Spanish Tourist Office and The Office for Cultural and Scientific Affairs, Embassy of Spain. Members, Patrons and individual donors We are grateful to the many individuals who supported Tates exhibitions programme. Exhibition supporter groups were created this year for Gerhard Richter, Yayoi Kusama, Picasso & Modern British Art and Alighiero Boetti: Game Plan. Tate Members and Patrons continue to play a vital role. There are 463 Patrons who together gave just under 900,000 this year. This money supported the acquisition of ten new works for the collection, the Alighiero Boetti: Game Plan exhibition, learning, access and cataloguing projects. Membership of the International Council increased to 144 across twenty-eight countries, with donations supporting the acquisition of works by Henk Peeters, Lygia Pape and Jiro Takamatsu, as well as the Alighiero Boetti: Game Plan and Yayoi Kusama exhibitions. There are now over 100,000 Tate Members, making it one of the most successful arts membership schemes in the UK, this year raising 5.9 million. Tate now has six acquisitions committees, including the newly launched Africa Acquisitions Committee. Together they have over 150 members, whose energy and knowledge is invaluable in helping us to grow the collection and become more international and diverse. Maryam and Edward Eisler have pledged important support for acquisitions and exhibitions over the next three years and Gilberto Pozzi continues to support s Schools Workshop programme. The Level 2 Series at continued with generous support from Catherine Petitgas. Tate Film was supported by Maja Hoffman/LUMA Foundation. Tate again took part in The Big Give, set up by the Reed Foundation and Arts & Business to encourage individual giving to the arts, and raised over 40,000 through the generosity of Tate Fund donors, Patrons and over 200 Tate Members. Tate Enterprises This year Tate Enterprises (excluding Tate Catering) had a turnover of 13.5 million and contributed a profit of 2.45 million to Tate through core business and an additional 1.3 million through sales of Richter editions. Catalogues for the Richter, Mir and Magritte exhibitions all proved popular, as did titles in our general trade list including Richard Dadd by Nicholas Tromans and Alices Adventures in Wonderland illustrated by Tove Jansson. The Tate Guide to Modern Art Terms app was released, and Sara Fanelli, Andy Tuohy and Maria Dahlgren developed successful product ranges exclusively for Tate. A new online shop platform was launched to coincide with the launch of the new Tate website and has already driven increased sales. Tate Catering In 201112 Tate Catering has continued to build on its strategy to increase profit to historic levels of 15%. Profits this year were 903,000, an increase of almost 50% on last year. This was a considerable achievement in the extended economic recession. Tate now roasts its own coffee, which is available in all of our outlets and is proving popular. Next year, the plan is to source our own coffee beans. Tate Catering was accredited with Investor in People status across all sites, recognising how much we value the hard work and expertise of staff. Building for the future Tate ended the year having made major progress on fundraising and construction on the capital projects at Tate Britain, and Tate St Ives. The foundations were laid for our digital future with our redesigned website and advances in social media. There are many reasons for optimism, despite the difficult economic climate in which we operate. Project More than 75% of the funding for the new building at has been raised, a remarkable achievement given the constraints of the recession. This has been made possible thanks to the generosity of a number of individuals, to whom we are very grateful. Work on the superstructure above ground has now begun, and the building will be completed no later than 2016. Forty contractors and more than 300 people are on site daily, making this happen. Tate Britain Millbank Project Fundraising for the Tate Britain Millbank Project, designed by architects Caruso St John, is complete thanks to the generous support of a number of donors this year, including Tate Members, The Linbury Trust, The Monument Trust, The Manton Foundation and The Taylor Family Foundation, as well as private individuals. A Heritage Lottery Fund award of 4.95 million was a major milestone, helping not only to make possible the transformation of the gallery but also to fund the digitisation of Tates archive collections. By the end of March over 200,000 man hours had been completed on site with care taken to cause minimum disruption to visitors. The rehung BP British Art Displays will open in May 2013, giving dedicated spaces to Henry Moore and William Blake, as well as JMW Turner in the Clore Gallery, and a chronological display of works from the collection from 1550 to the present day. A striking new spiral staircase in the Rotunda will connect the upper galleries to the lower level of the building. There will also be a new caf overlooking the Millbank gardens, new learning spaces including a dedicated entrance for schools and a special gallery in which to view material from Tate Archive. The project will be completed in the autumn of 2013. Tate St Ives The design team for the redevelopment of Tate St Ives has been appointed. Jamie Fobert Architects will create a new extension with at least 60% more gallery space and a new collection care suite designed to improve how we care for artworks. A major refurbishment will also be carried out to the existing building, to provide much-needed new learning and visitor facilities. There has been a positive response to the current proposals locally and Tate St Ives is working with the Community Liaison Group and the Cornwall Rural Community Council on full public consultation at every stage in the process. Cornwall Council has committed funds to the project as well as acquiring the land for Tate and initial funding has been received from the Headley Trust. New digital era preparing for the future The new Tate website and developments in social media have laid the foundations for the future for how we communicate with our audiences both within and beyond the gallery walls. With greater access online through blogs, Twitter, Facebook and YouTube, art is being enjoyed across multiple platforms in increasingly sophisticated ways. Audiences want a say. They are letting us know what they think and what they want. We are at the start of an expanding dialogue that will challenge the ways we work as an institution. Financial review Tate is funded by Grant-in-Aid from Parliament, provided through the Department for Culture, Media and Sport. Grant-in-Aid provides the foundation for the activities from which Tate generates further funds. These include trading, admissions, donations and sponsorship. In 201112 Tate generated 61% of its income from sources other than Grant-in-Aid. The information in the graphs below has been drawn from the full audited accounts, which can be accessed on Tates website. Income / 113.0m The exhibition programme at Tate has a direct impact on income each year. In 201112 exhibitions included Joan Mir: The Ladder of Escape and Gerhard Richter at , Picasso & Modern British Art and John Martin: Apocalypse at Tate Britain and Ren Magritte: The Pleasure Principle at Tate Liverpool, which combined to generate trading and admissions income. As shown here, income is allocated to both annual operating expenditure and capital expenditure. Grant-in-Aid operating 32.8m Trading income 26.7m Other voluntary income 20.5m Grant-in-Aid capital and works of art 12.3m Income from charitable activities 8.5m Activities for generating funds 7.6m Donated works of work 3.3m Other income 0.8m Investment income 0.5m Self-generated income To fund its operational activities in 201112, Tate generated 61% of its income from sources other than Grant-in-Aid. Over the past five years, Tate has consistently generated 60% of its income from sources other than Grant-in-Aid. The graph below demonstrates the relationship between self-generated income and Grant-in-Aid. Self-generated income* Grant-in-Aid* 2007-8 47.7m 31.7m 2008-9 53.9m 32.5m 2009-10 49.0m 33.4m 2010-11 51.9m 32.3m 201112 50.3m 32.8m Operating expenditure / 83.2m The two graphs on this page show how income is allocated to annual expenditure at Tate. Expenditure includes the research and care of the collection, the public programme of exhibitions, learning and outreach, fundraising and publicity, and trading, governance and support costs. Charitable activities: public programme 38.7m Trading costs 22.1m Charitable activities: support costs 15.7m Other costs of generating income 3.1m Costs of generating voluntary income 2.2m Other costs 0.8m Governance costs 0.6m Investment management costs 0.02m Capital expenditure / 40.0m As described above, work has continued on the capital projects at Tate Britain and , with the Tanks nearing completion during this year before opening in July 2012. Work on Phase 1 of the Tate Britain Millbank Project is nearing completion. Over the past year, Tate has added works of art valued at 7.9m to its collection. Of this, work to the value of 3.3m has been donated by individuals either directly, or in lieu of tax. 2010-11 201112 Works of art purchased 4.0m 4.6m Works of art donated 4.3m 3.3m Other fixed assets 27.0m 40.0m 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. Tate Foundation Executive Trustees John C Botts, CBE Carol Galley Noam Gottesman Scott Mead Simon Palley Franck Petitgas (Chair) Emmanuel Roman Anthony Salz Sir Nicholas Serota The Lord Stevenson of Coddenham, CBE Tate Foundation Non-Executive Trustees Victoria Barnsley, OBE Mrs James Brice The Lord Browne of Madingley, FRS, FREng Susan Burns Melanie Clore Sir Howard Davies Dame Vivien Duffield, DBE George Economou Lady Lynn Forester de Rothschild Mandy Moross Paul Myners, CBE Sir John Ritblat Lady Ritblat Dame Theresa Sackler Peter Simon Jon Snow John J Studzinski, CBE Anita Zabludowicz Tate Foundation Honorary Members Christina Chandris Oliver Haarmann Mr Ronald and the Hon Mrs Rita McAulay The Rt Hon Sir Timothy Sainsbury Ian Taylor Tate Foundation Advisory Group Oliver Barker Miel de Botton Tania Fares Rosemary Leith Fatima Maleki Tim Marlow Victoria Miro Nicola Reed Anita Zabludowicz Tate Foundation Campaign Group John C Botts, CBE The Lord Browne of Madingley, FRS, FREng Melanie Clore Mala Gaonkar Franck Petitgas (Chair) Emmanuel Roman Sir Nicholas Serota The Lord Stevenson of Coddenham, CBE John J Studzinski, CBE Corporate Advisory Group Jonathan Bloomer Ian Cheshire Chris Gibson-Smith, CBE Richard Gnodde Jan Hall Jenny Halpern Prince Janice Hughes Charles Rifkind Roland Rudd (Chair) Anthony Salz Jan Shawe Sir Martin Sorrell The Lord Stevenson of Coddenham, CBE Tate Patrons Executive Committee Alia Al-Senussi Dan Brooke Elizabeth Brooks (Chair) Beth Colocci Jane Collins Joan Edlis Julian Opie Richard Rose Maria Sukkar Patricia Swannell Trustees of the American Patrons of Tate Frances Bowes Estrellita Brodsky Donald L. Bryant Jr. James Chanos Henry Christensen III Ella Fontanals-Cisneros Tiqui Atencio Demirdjian (Ex-officio) Jeanne Donovan Fisher (Chair) Lady Lynn Forester de Rothschild Noam Gottesman Marguerite Hoffman Sandra Niles Robert Rennie (Ex-officio) John J Studzinski, CBE Juan Carlos Verme Corporate Supporters Bloomberg BMW BP British Land Channel 4 Goldman Sachs Hildon Limited JCA Group J.P. Morgan Le Mridien Louis Vuitton Qatar Museums Authority RLM Finsbury Sothebys The Spanish Tourist Office Unilever Vodafone Group and those who wish to remain anonymous Corporate Members Christies Clifford Chance LLP Deutsche Bank Drivers Jonas Deloitte EDF Energy Ernst & Young Freshfields Bruckhaus Deringer GAM Hanjin Shipping him! research & consulting HSBC IPC Media The John Lewis Partnership Kingfisher plc Linklaters Mace Group Ltd Mazars Morgan Stanley Native Land & Grosvenor Pearson Thames & Hudson The Brooklyn Brothers Tishman Speyer Wolff Olins and those who wish to remain anonymous Tate Britain and Benefactors 29th May 1961 Charitable Trust The Alan Cristea Gallery Carolyn Alexander American Patrons of Tate Annenberg Foundation The Anson Charitable Trust Mehves and Dalinc Ariburnu The Art Fund Art Mentor Foundation Lucerne Art Monthly The Arts and Humanities Research Council Arts Council England The Company of Arts Scholars, Dealers and Collectors Charitable Fund Charles Asprey Aurelius Charitable Trust The Estate of Peter and Caroline Barker-Mill Victoria Barnsley, OBE Dr Wendy Baron Big Lottery Fund The Blavatnik Family Foundation The Charlotte Bonham-Carter Charitable Trust Lauren and Mark Booth Louise Bourgeois Frances Bowes Ivor Braka Limited The Deborah Loeb Brice Foundation Stuart Brisley and Maya Balcioglu British Council The Lord Browne of Madingley, FRS, FREng Donald L Bryant Jr Family Piers Butler Armando Cabral Caldic Collectie, Wassenaar Calouste Gulbenkian Foundation Canadian Council for American Relations Lucy Carter Marc Camille Chaimowicz John and Christina Chandris James Chanos CHK Charities Limited Henry Christensen III Patricia Phelps de Cisneros Clore Duffield Foundation The Clothworkers Foundation Jenny Collins and Caroline Aperguis The Ernest Cook Trust Paul Cooke Isabelle and John Corbani Cornwall Council The Coutts Charitable Trust Thomas Dane Dimitris Daskalopoulos The Gladys Krieble Delmas Foundation Ago Demirdjian and Tiqui Atencio Demirdjian Department for Business, Innovation and Skills Department for Culture, Media and Sport Department for Education Sir Harry and Lady Djanogly Anthony dOffay Peter Doig The Drapers Company Jytte Dresing, The Merla Art Foundation, Dresing Collection The Duerckheim Collection George Economou Maryam and Edward Eisler Oscar Engelbert European Union Esme Fairbairn Foundation Fares and Tania Fares Mrs Doris Fisher Jeanne Donovan Fisher Wendy Fisher Lady Lynn Forester de Rothschild Foster + Partners Eric and Louise Franck Amanda and Glenn Fuhrman Mala Gaonkar The Gatsby Charitable Foundation J Paul Getty Jr Charitable Trust The Getty Foundation Antonia Gibbs Thomas Gibson in memory of Anthea Gibson Millie and Arne Glimcher Goethe-Institut Dr John Golding The Horace W Goldsmith Foundation Nicholas and Judith Goodison Goodman Gallery, Johannesburg and Cape Town David and Maggi Gordon Lydia and Manfred Gorvy Lady Gosling Noam Gottesman The Great Britain Sasakawa Foundation The Estate of Alan Green Christopher J Gridley Guaranty Trust Bank Plc Mimi and Peter Haas Fund The Haberdashers Company Andrew and Christine Hall Paul Hamlyn Foundation Viscount and Viscountess Hampden and Family Dr Mark Hannam Mr Toshio Hara The Hayden Family Foundation Dsire Hayter Stuart Heath Charitable Settlement Heritage Lottery Fund Mauro Herlitzka The Hintze Family Charitable Foundation Damien Hirst The Hiscox Foundation The Henry C Hoare Charitable Trust David Hockney The Estate of Mrs Mimi Hodgkin Marguerite Hoffman Maja Hoffmann/LUMA Foundation Jenny Holzer Michael Hoppen Callum Innes Institut Ramon Llull The J Isaacs Charitable Trust Maxine Isaacs Anthony and Evelyn Jacobs The Japan Foundation Alain Jathiere JISC Stanley Jones Peter and Maria Kellner Jack Kirkland James and Clare Kirkman Madeleine Kleinwort Leon Kossoff Pamela and C Richard Kramlich Mr and Mrs Henry R Kravis Donors in honour of Nicolette Kwok Catherine Lagrange Pierre Lagrange The Kirby Laing Foundation The Leche Trust Agnes and Edward Lee Legacy Trust UK The Leverhulme Trust The Linbury Trust The Estate of Barbara Lloyd London Development Agency Mark and Liza Loveday The Henry Luce Foundation Allison and Howard W. Lutnick Christopher Eykyn and Nicholas Maclean Karim Makarius Sir Christopher Mallaby The Manton Foundation The Maplescombe Trust Robert Mapplethorpe Foundation The Michael Marks Charitable Trust The JP Marland Charitable Trust Donald B. Marron The Estate of Gordon Matta-Clark The Mayor Gallery Mr Ronald and the Hon Mrs Rita McAulay Jean-Yves Mock Anthony and Deirdre Montagu The Monument Trust The Henry Moore Foundation Peter Moores Foundation Mr Minoru Mori, Hon KBE and Mrs Yoshiko Mori Jason Morland Mr and Mrs Mandy Moross Pat Moss Rupen Mullick Elisabeth Murdoch Alison and Paul Myners NADFAS Peter Nahum Mr Sean OConnor Maja Oeri and Hans Bodenmann The Olivier Family Outset Contemporary Art Fund Maureen Paley Simon and Midge Palley Irene Panagopoulos Martin Parr The Estate of Brian and Nancy Pattenden Stephen and Yana Peel Daniel and Elizabeth Peltz Catherine and Franck Petitgas PF Charitable Trust PHG Cadbury Charitable Trust Stanley Picker Trust Mr and Mrs Jrgen and Clarissa Pierburg The Pilgrim Trust PINTA Museum Acquisition Program Gilberto Pozzi Cindy and Howard Rachofsky Caro Rathbone The Reed Foundation Frances Reynolds Manuel Rios Miguel Rios Yvonne Robinson Barrie and Emmanuel Roman Romulus Construction Rootstein Hopkins Foundation Lord and Lady Rothschild Helen and Ken Rowe Edward Ruscha The Michael Harry Sacher Charitable Trust The Dr Mortimer and Theresa Sackler Foundation Lord and Lady Sainsbury of Preston Candover The Estate of Simon Sainsbury Sally and Anthony Salz Mrs Coral Samuel, CBE The Sandra Charitable Trust Edwina Sassoon Ruth and Stephan Schmidheiny Mr and Mrs Charles Schwab Tessa Sidey Alice Sielle Peter Simon Nicholas Skeaping Candida and Rebecca Smith Selina Snow The Office for Cultural and Scientific Affairs, Embassy of Spain The Spanish Tourist Office Cynthia and Abe Steinberger Charlotte Stevenson Mercedes and Ian Stoutzker John J Studzinski, CBE Mr Christen Sveaas The Estate of Jiro Takamatsu Tate Africa Acquisitions Committee 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 The Taylor Family Foundation Terra Foundation for American Art Thames Wharf Charity Ltd The Estate of Mr Nicholas Themans Tishman Speyer Tornabuoni Art, Paris Andrei Tretyakov The Vandervell Foundation David and Emma Verey Trustees of the Marie-Louise von Motesciszky Trust Sir Siegmund Warburgs Voluntary Settlement The Wates Foundation Wellcome Trust Sian and Matthew Westerman The Weston Family Garfield Weston Foundation Nina and Graham Williams Michael and Jane Wilson Jennifer Winkworth Samuel and Nina Wisnia The Wolfson Foundation The Hon Mrs Janet Wolfson de Botton, CBE Juan Yarur Torres Yuz Foundation Poju and Anita Zabludowicz Zamyn Mrs Silke Ziehl Nina and Michael Zilkha 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 Mehves Ariburnu Mr and Mrs Edward Atkin, CBE Beecroft Charitable Trust Mrs Abeer ben Halim Mr Harry Blain Miel de Botton Broeksmit Family Foundation Rory and Elizabeth Brooks (Chairman) The Lord Browne of Madingley, FRS, FREng Mr Stephane Custot Ms Sophie Diedrichs-Cox Fares and Tania Fares Mr David Fitzsimons The Flow Foundation Edwin Fox Foundation Hugh Gibson The Goss-Michael Foundation Mandy Gray and Randall Work Mr and Mrs Yan Huo Mr Phillip Hylander Mrs Gabrielle Jungels-Winkler Maria and Peter Kellner Mrs Ella Krasner Mr and Mrs Eskandar Maleki Scott and Suling Mead Gabriela Mendoza and Rodrigo Marquez Pierre Tollis and Alexandra Mollof Mr Donald Moore Mary Moore Mr Mario Palencia Mr and Mrs Paul Phillips Maya and Ramzy Rasamny Frances Reynolds Simon and Virginia Robertson Mr and Mrs Richard Rose Claudia Ruimy Vipin Sareen and Rebecca Mitchell Mr and Mrs J Shafran Mrs Andre Shore Maria and Malek Sukkar Mr Vladimir Tsarenkov and Ms Irina Kargina Mr and Mrs Petri Vainio Rebecca Wang Michael and Jane Wilson Poju and Anita Zabludowicz and those who wish to remain anonymous Gold Patrons Eric Abraham Jacqueline Appel and Alexander Malmaeus Tim Attias Jenny and Robert Borgerhoff Mulder Elena Bowes Melanie Clore Beth and Michele Colocci Alastair Cookson Bilge Ogut-Cumbusyan and Haro Cumbusyan Mr Dnall Curtin Mr Frank Destribats Mrs Maryam Eisler Mala Gaonkar Mr and Mrs A Ramy Goldstein Mrs Petra Horvat Anne-Marie and Geoffrey Isaac Ms Natascha Jakobs Mrs Heather Kerzner Mr Eugenio Lopez Fiona Mactaggart Mr Francis Outred Simon and Midge Palley Mariela Pissioti Mathew Prichard Valerie Rademacher Mr David Roberts Mr Charles Roxburgh Carol Sellars Mrs Dana Sheves Britt Tidelius Mr and Mrs Stanley S. Tollman Emily Tsingou and Henry Bond Mrs Celia Forner Venturi Manuela and Iwan Wirth Barbara Yerolemou and those who wish to remain anonymous Silver Patrons Agnews Dame Helen Alexander, DBE Mrs Malgosia Alterman Toby and Kate Anstruther Mr and Mrs Zeev Aram Mr Giorgio Armani Mrs Charlotte Artus Edgar Astaire Miss Silvia Badiali Mrs Jane Barker Mr Edward Barlow Victoria Barnsley, OBE Jim Bartos Mrs Nada Bayoud Mr Harold Berg Lady Bernstein Ms Anne Berthoud Madeleine Bessborough Ms Karen Bizon Janice Blackburn Mr Brian Boylan Mrs Lena Boyle Ivor Braka Viscountess Bridgeman The Broere Charitable Foundation Mr Dan Brooke Ben and Louisa Brown Michael Burrell Mrs Marlene Burston Mrs Aisha Caan Timothy and Elizabeth Capon Mr Francis Carnwath and Ms Caroline Wiseman Lord and Lady Charles Cecil Frank Cohen Mrs Jane Collins Dr Judith Collins Terrence Collis Mr and Mrs Oliver Colman Carole and Neville Conrad Mr Gerardo Contreras Giles and Sonia Coode-Adams Mark and Cathy Corbett Cynthia Corbett Mrs Ursula Cornely Tommaso Corvi-Mora Mr and Mrs Bertrand Coste Kathleen Crook and James Penturn James Curtis Mrs Virginia Damtsa Mr Theo Danjuma Sir Howard Davies Mrs Belinda de Gaudemar Giles de la Mare Maria de Madariaga Anne Chantal Defay Sheridan Marco di Cesaria Simon C Dickinson Ltd Mrs Fiona Dilger James Diner Liz and Simon Dingemans Mr Raymond Duignan Ms Charlotte Ransom and Mr Tim Dye Joan Edlis Lord and Lady Egremont John Erle-Drax Stuart and Margaret Evans Eykyn Maclean LLC Gerard Faggionato Ms Rose Fajardo Mrs Heather Farrar Mrs Margy Fenwick Mr Bryan Ferry, CBE The Sylvie Fleming Collection Mrs Jean Fletcher Lt Commander Paul Fletcher Steve Fletcher Elizabeth Freeman Stephen Friedman Julia Fuller Carol Galley Daniela and Victor Gareh Mrs Lisa Garrison Mrs Joanna Gemes Ljubica Georgievska Mr Mark Glatman Ms Emily Goldner and Mr Michael Humphries Ms Josefa Gonzalez-Blanco Mr Jonathan Goodman Mr and Mrs Paul Goswell Penelope Govett Martyn Gregory Sir Ronald Grierson Mrs Kate Grimond Richard and Odile Grogan Louise Hallett Jane Hay Richard Hazlewood Michael and Morven Heller Miss Judith Hess Mrs Patsy Hickman Robert Holden James Holland-Hibbert Lady Hollick, OBE Mr Michael Hoppen Vicky Hughes John Huntingford Mr Alex Ionides Maxine Isaacs Sarah Jennings Ms Alex Joffe Mr Haydn John Mr Michael Johnson Jay Jopling Mrs Marcelle Joseph and Mr Paolo Cicchin Mrs Brenda Josephs Tracey Josephs Mr Joseph Kaempfer Andrew Kalman Dr Martin Kenig Mr David Ker Nicola Kerr Mr and Mrs Simon Keswick Richard and Helen Keys Mrs Mae Khouri David Killick Mr and Mrs James Kirkman Brian and Lesley Knox Kowitz Trust Mr and Mrs Herbert Kretzmer Ms Jacqueline Lane Steven Larcombe Mrs Julie Lee Simon Lee Mr Gerald Levin Leonard Lewis Mr Gilbert Lloyd George Loudon Mrs Elizabeth Louis Mark and Liza Loveday Daniella Luxembourg Art Anthony Mackintosh The Mactaggart Third Fund Mrs Jane Maitland Hudson Mr M J Margulies Lord and Lady Marks Marsh Christian Trust Ms Fiona Mellish Mr Martin Mellish Mrs R W P Mellish Professoressor Rob Melville Mr Michael Meynell Mr Alfred Mignano Victoria Miro Ms Milica Mitrovich Jan Mol Mrs Bona Montagu Mrs Valerie Gladwin Montgomery Mr Ricardo Mora Mrs William Morrison Alison and Paul Myners Ann Norman-Butler Joseph and Chloe OSullivan Julian Opie Pilar Ordovs Sir Richard Osborn Desmond Page Maureen Paley Dominic Palfreyman Michael Palin Mrs Adelaida Palm Stephen and Clare Pardy Mrs Vronique Parke Miss Nathalie Philippe Ms Michina Ponzone-Pope Mr Oliver Prenn Susan Prevezer, QC Mr Adam Prideaux Mr and Mrs Ryan Prince James Pyner Mrs Phyllis Rapp Mr and Mrs James Reed Mr and Mrs Philip Renaud The Reuben Foundation Sir Tim Rice Lady Ritblat Ms Chao Roberts David Rocklin Frankie Rossi Mr David V Rouch Mr James Roundell Naomi Russell Mr Alex Sainsbury and Ms Elinor Jansz Mrs Amanda Sater Mrs Cecilia Scarpa Cherrill and Ian Scheer Sylvia Scheuer The Schneer Foundation Mrs Cara Schulze Andrew and Belinda Scott The Hon Richard Sharp Mr Stuart Shave Neville Shulman, CBE Ms Julia Simmonds Jennifer Smith Mrs Cindy Sofer Mrs Carol Sopher Mr George Soros Louise Spence Digby Squires, Esq Mr and Mrs Nicholas Stanley Mr Nicos Steratzias The Swan Trust Mrs Patricia Swannell Mr James Swartz The Lady Juliet Tadgell Christopher and Sally Tennant Lady Tennant Mr Henry Tinsley Karen Townshend Melissa Ulfane Mr Marc Vandecandelaere Mrs Cecilia Versteegh Mr Jorge Villon Gisela von Sanden Mr David von Simson Audrey Wallrock Stephen and Linda Waterhouse Offer Waterman Terry Watkins Miss Cheyenne Westphal Mr David Wood Mr Douglas Woolf and those who wish to remain anonymous Young Patrons Ms Maria Allen Miss Noor Al-Rahim HRH Princess Alia Al-Senussi Miss Sharifa Alsudairi Sigurdur Arngrimsson Miss Katharine Arnold Miss Joy Asfar Kirtland Ash Miss Olivia Aubry Rachael Barrett Ms Shruti Belliappa Mr Edouard Benveniste-Schuler Miss Margherita Berloni Raimund Berthold Ms Natalia Blaskovicova Dr Brenda Blott Mrs Sofia Bocca Ms Lara Bohinc Mr Andrew Bourne Miss Camilla Bullus Miss Verena Butt Miss May Calil Miss Sarah Calodney Matt Carey-Williams and Donnie Roark Dr Peter Chocian Mrs Mona Collins Thamara Corm Miss Amanda C Cronin Mrs Suzy Franczak Davis Ms Lora de Felice Mr Stanislas de Quenetain Mr Alexander Dellal Suzana Dimond Mira Dimitrova Ms Michelle DSouza Miss Roxanna Farboud Jane and Richard Found Mr Andreas Gegner Ms Alexandra Ghashghai Mrs Benedetta Ghione-Webb Mr Nick Hackworth Alex Haidas Ms Susan Harris Sara Harrison Kira Allegra Heller Mrs Samantha Heyworth Miss Fran Hickman Katherine Ireland Miss Eloise Isaac Ms Melek Huma Kabakci Miss Meruyert Kaliyeva Mr Efe Kapanci Ms Tanya Kazeminy Mackay Mr Benjamin Khalili Helena Christina Knudsen Ms Marijana Kolak Miss Constanze Kubern Miss Marina Kurikhina Mr Jimmy Lahoud Ms Anna Lapshina Mrs Julie Lawson Ms Joanne Leigh Miss Mc Llamas Alex Logsdail Mrs Siobhan Loughran Charlotte Lucas Alessandro Luongo Ms Sonia Mak Mr Jean-David Malat Kamiar Maleki Shariar Maleki Ms Clmence Mauchamp Miss Charlotte Maxwell Dorian May Hasiotis Mr John McLaughlin Miss Amywren Miller Miss Nina Moaddel Mr Fernando Moncho Lobo Erin Morris Mrs Annette Nygren Phyllis Papadavid Camilla Paul Alexander V. Petalas The Piper Gallery Lauren Prakke (Chair, Ambassador Group) Ivetta Rabinovich Mr Eugenio Re Rebaudengo Mr Bruce Ritchie and Mrs Shadi Ritchie Kimberley and Michael Robson-Ortiz Mr Daniel Ross Mr Simon Sakhai and those who wish to remain anonymous North American Acquisitions Committee Carol and David Appel Rafael Cennamo and Amir Baradaran Beth Rudin De Woody Carla Emil and Richard Silverstein Elisabeth Farrell and Panos Karpidas Glenn Fuhrman Andrea and Marc Glimcher Pamela Joyner Monica Kalpakian Massimo Marcucci Lillian Mauer Liza Mauer and Andrew Sheiner Nancy McCain Stavros Merjos Gregory R. Miller Shabin and Nadir Mohamed Elisa Nuyten and David Dime Amy and John Phelan Liz Gerring Radke and Kirk Radke Laura Rapp and Jay Smith Robert Rennie (Chair) and Carey Fouks Donald R Sobey Robert Sobey Ira Statfeld Christen and Derek Wilson and those who wish to remain anonymous Latin American Acquisitions Committee Monica and Robert Aguirre Karen and Leon Amitai Luis Benshimol Billy Bickford, Jr and Oscar Cuellar Estrellita and Daniel Brodsky Carmen Buqueras Rita Rovelli Caltagirone Trudy and Paul Cejas Patricia Phelps de Cisneros David Cohen Gerard Cohen HSH the Prince Pierre dArenberg Tiqui Atencio Demirdjian (Chair) Lily Gabriella Elia Fernanda Feitosa and Heitor Martins Angelica Fuentes de Vergara William A. Haseltine Mauro Herlitzka Yaz Hernandez Rocio and Boris Hirmas Said Anne Marie and Geoffrey Isaac Nicole Junkermann Jack Kirkland Fatima and Eskander Maleki Becky and Jimmy Mayer Solita and Steven Mishaan Patricia Moraes and Pedro Barbosa Catherine and Michel Pastor Catherine Petitgas Ferdinand Pork Isabella Prata and Idel Arcuschin Frances Reynolds Erica Roberts Judko Rosenstock and Oscar Hernandez Guillermo Rozenblum Lilly Scarpetta and Roberto Pumarejo Catherine Shriro Norma Smith Susana and Ricardo Steinbruch Juan Carlos Verme Alin Ryan von Buch Tania and Arnoldo Wald Juan Yarur Torres and those who wish to remain anonymous Asia-Pacific Acquisitions Committee Bonnie and R Derek Bandeen Mr and Mrs John Carrafiell Mrs Christina Chandris Richard Chang Pierre TM Chen, Yageo Foundation, Taiwan Katie de Tilly Mr Hyung-Teh Do Ms Mareva Grabowski Elizabeth Griffith Ms Kyoko Hattori Cees Hendrikse Mr Yongsoo Huh Mr Chang-Il Kim Ms Yung Hee Kim Alan Lau Woong-Yeul Lee Mr William Lim Ms Kai-Yin Lo Anne Louis-Dreyfus Mr Nicholas Loup Mrs Geraldine Elaine Marden The Red Mansion Foundation Mr Jackson See Mr Paul Serfaty Dr Gene Sherman AM Mr Robert Shum Sir David Tang (Chair) Rudy Tseng (Taiwan) and those who wish to remain anonymous Middle East and North Africa Acquisitions Committee Sheikha Lulu Al-Sabah HRH Princess Alia Al-Senussi Abdullah Al Turki Mehves Ariburnu Sule Arinc Marwan Assaf Perihan Bassatne Ms Isabelle de la Bruyre Fsun Eczacibasi Shirley Elghanian Delfina Entrecanales Noor Fares Maryam Homayoun Eisler (Co-Chair) Maha and Kasim Kutay Lina Lazaar Nina Mahdavi Mrs Amel B.Makkawi Mrs Fatima Maleki Fayeeza Naqvi Dina Nasser-Khadivi Ebru zdemir Mrs Edwina zyegin Ramzy and Maya Rasamny (Co-Chair) Dania Debs-Sakka Mrs Sherine Sawiris Maria and Malek Sukkar Ana Luiza and Luiz Augusto Teixeira de Freitas Berna Tuglular and those who wish to remain anonymous Photography Acquisitions Committee Ryan Allen Tim Attias Mr Nicholas Barker Marisa Bellani Pierre Brahm (Chair) William and Alla Broeksmit Elizabeth and Rory Brooks Mr Marcus Bury Marcel and Gabrielle Cassard Nicolas and Celia Cattelain Beth and Michele Colocci Fares and Tania Fares David Fitzsimons George and Margot Greig Michael Hoppen Bernard Huppert Tim Jefferies, Hamiltons Gallery Dede Johnston Jack Kirkland Mark McCain Mr Scott Mead Mr Donald Moore Mr Axel Nordin Ellen and Dan Shapiro Saadi Soudavar Maria and Malek Sukkar Michael and Jane Wilson and those who wish to remain anonymous Africa Acquisitions Committee Tutu Agyare (Co-Chair) Mrs Kavita Chellaram Salim Currimjee Robert Devereux (Co-Chair) Hamish Dewar Isis Dove-Edwin and Paul Ellis Mrs Wendy Fisher Deborah Goldman Ian Harrison Andrea Kerzner Samallie Kiyingi Caro Macdonald Professor Oba Nsugbe, QC Pascale Revert Wheeler Kathryn Jane Robins Emile Stipp Varnavas A. Varnava Juan Carlos Verme Mercedes Vilardell Piet Viljoen Alexa Waley-Cohen and those who wish to remain anonymous International Council Members Doris Ammann Mr Plcido Arango Gabrielle Bacon Anne H Bass Cristina Bechtler Nicolas Berggruen Olivier and Desiree Berggruen Baron Berghmans Mr Pontus Bonnier Ms Miel de Botton Mrs Frances Bowes Ivor Braka The Deborah Loeb Brice Foundation The Broad Art Foundation Bettina and Donald L Bryant Jr Melva Bucksbaum and Raymond Learsy Fondation Cartier pour lart contemporain Christina Chandris Richard Chang Pierre TM Chen, Yageo Foundation, Taiwan Lord Cholmondeley Mr Kemal Has Cingillioglu Mr and Mrs Attilio Codognato David and Michelle Coe Sir Ronald Cohen and Lady Sharon Harel-Cohen Mr Alfonso Cortina de Alcocer Mr Douglas S Cramer and Mr Hubert S Bush III Mr Dimitris Daskalopoulos Mr and Mrs Michel David-Weill Julia W Dayton Tiqui Atencio Demirdjian and Ago Demirdjian Joseph and Marie Donnelly Mrs Olga Dreesmann Mrs Jytte Dresing Barney A Ebsworth Fsun and Faruk Eczasibasi Stefan Edlis and Gael Neeson Mr and Mrs Edward Eisler Carla Emil and Rich Silverstein Alan Faena Harald Falckenberg Fares and Tania Fares HRH Princess Firyal of Jordan Mrs Doris Fisher Mrs Wendy Fisher Dr Corinne M Flick Amanda and Glenn Fuhrman The late Mr Albert Fuss Candida and Zak Gertler Alan Gibbs Lydia and Manfred Gorvy Kenny Goss Mr Laurence Graff Ms Esther Grether Mr Grigorishin Konstantin Mr Xavier Guerrand-Herms Mimi and Peter Haas Fund Margrit and Paul Hahnloser Andy and Christine Hall Mr Toshio Hara 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 Mr Chang-Il Kim C Richard and Pamela Kramlich Catherine Lagrange Pierre Lagrange Baroness Marion Lambert Agns and Edward Lee Mme RaHee Hong Lee Jacqueline and Marc Leland Mr and Mme Sylvain Levy Mrs Fatima Maleki Panos and Sandra Marinopoulos Mr and Mrs Donald B Marron Marina Martinos Mr Ronald and The Hon Mrs McAulay Angela Westwater and David Meitus Mr Leonid Mikhelson Simon and Catriona Mordant Mr and Mrs Minoru Mori Mr Guy and The Hon Mrs Naggar Mr and Mrs Takeo Obayashi Mrs Kathrine Palmer Irene Panagopoulos Young-Ju Park Yana and Stephen Peel Daniel and Elizabeth Peltz Andrea and Jos Olympio Pereira Catherine and Franck Petitgas Sydney Picasso Mr and Mrs Jrgen Pierburg Jean Pigozzi Ms Miuccia Prada and Mr Patrizio Bertelli Maya and Ramzy Rasamny Patrizia Sandretto Re Rebaudengo and Agostino Re Rebaudengo Robert Rennie and Carey Fouks Mr John Richardson Michael Ringier Lady Ritblat Barrie and Emmanuel Roman Ms Gler Sabanc Dame Theresa Sackler Lily Safra Muriel and Freddy Salem Dasha Shenkman Uli and Rita Sigg Norah and Norman Stone John J Studzinski, CBE Mrs Marjorie Susman David Teiger Mr Robert Tomei The Hon Robert H Tuttle and Mrs Maria Hummer-Tuttle Mr and Mrs Guy Ullens Mrs Ninetta Vafeia Paulo A W Vieira Mr Robert and The Hon Mrs Waley-Cohen Diana Widmaier Picasso Christen and Derek Wilson Michael G Wilson Mrs Sylvie Winckler The Hon Mrs Janet Wolfson de Botton, CBE Anita and Poju Zabludowicz Michael Zilkha and those who wish to remain anonymous Members of Councils and Committees of the Tate Board of Trustees Dame Helen Alexander, DBE Jonathan Asquith Jeffrey Berman John C Botts, CBE Councillor Paul Brant Councillor Neil Burden Richard Burdett Professor Anne Carlisle Dr Gus Casely-Hayford Steven Claydon Councillor Flo Clucas Juan Cruz Jeremy Deller Claire Dove Gay Huey Evans Peter Fell Professor Briony Fer Judge 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Dominic Harris Rachel Lloyd Robert McCracken Carol Propper Miranda Sawyer Neil Scott Jon Snow (Chair) Simon Wilson, OBE Tate Liverpool Sponsors and Donors The Access to Volunteering Fund American Patrons of Tate The Art Fund Biffa Award Investing in the Environment Tom Bloxham, MBE British Council The Brown Foundation, Inc., of Houston Business in the Arts: North West DLA Piper European Commission, through the Youth in Action Programme European Regional Development Fund (ERDF) Friedrich Petzel Gallery, New York Galerie Gisela Capitain, Cologne Embassy of the Federal Republic of Germany Goethe-Institut London Mr Christopher Hamick Liverpool City Council Liverpool Primary Care Trust Liverpool & Sefton Health Partnership Ltd Liverpool Youth Service Museums, Libraries and Archives Council National Lottery through Arts Council England Embassy of the Kingdom of the Netherlands The Jacqueline Nonkels Fund, managed by the King Baudouin Foundation Northwest Regional Development Agency Eleanor Rathbone Trust Mr and Mrs Wilbur Ross Tate Liverpool Members Tate Members The Times Virgin Trains Youth Opportunities Fund Corporate Partners Christies David M Robinson (Jewellery) Ltd DLA Piper DWF Hill Dickinson Liverpool Hope University Liverpool John Moores University Unilever UK Corporate Members Andrew Collinge Ltd Bruntwood Cheetham Bell JWT Deutsche Bank Fraser Wealth Management Grant Thornton Individual Restaurant Company Plc KPMG Lime Pictures Royal Bank of Scotland Patrons Elkan Abrahamson Hilary Banner Diana Barbour David Bell Lady Beverley Bibby Jo and Tom Bloxham, MBE Helen Burrell Paul Carroll and Nathalie Bagnall Bill Clark Jim Davies Olwen McLaughlin Barry Owen, OBE Sue and Ian Poole Anthony Preston Development Committee Leslie Beattie David Bell Simon Bland Jim Davies Ian Goalen (Chair) David Guest Barry Owen Philip Rooney Members Committee Elkan Abrahamson Mary Colston Linda Crane Jannice Crawford Rachel Gardner Johnstone Godfrey (Chair) Marie France van Heel Catherine Leen Jacquie Rogers Tony Wells Sue West Alan Yates Tate St Ives Supporters and Donors Shelley Fox Aarons and Philip Aarons Arts Council England Austin/Desmond Fine Art Cassochrome Andrea and Michael Higham Philip and Psiche Hughes Institut fr Auslandsbeziehungen Stanley Thomas Johnson Foundation David and Linda Melbourne The Henry Moore Foundation Gareth Thomas Karen Townshend Geoff and Sue Wiggin Manuela and Iwan Wirth Business Members Aspects Holiday Cottages Christies Colenso Coodes Solicitors Francis Clark with Winter Rule Harding Laity Estate Agents Hawkes Point Holiday Apartments Lemon Street Gallery The Sail Lofts St Ives Holidays Map Group Members Alba Art Space Gallery Aspects Holiday Cottages Belgrave St Ives Blas Burgerworks Blue Hayes Private Hotel Carbis Bay Holidays Colin Birchall Gallery Cornish Riviera Holidays The Cottage Boutique Dream Cornwall Edgars Harding Laity Estate Agents Hawkes Point Holiday Apartments Madeleines Mermaid Seafood Restaurant The Mex Restaurant New Craftsman Gallery Old Vicarage The Sail Lofts Sally MacCabe Studio St Ives Holidays Tregenna Castle Hotel & Leisure Estate Wills Lane Gallery Members Committee Heather Corbett Arlene Fullerton Beth Grossman Trudi Gurling Andrea Higham Louise Jones Anthea Richards Felicity Robertson Neil Scott (Chair) Will Sleath Roger Tonkinson Grahame Wheelband It is the exceptional generosity and vision of individuals, corporations and numerous private foundations and public-sector bodies that has 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. 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 8738 American Patrons of Tate 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 Tate Directors serving in 201112 Sir Nicholas Serota Alex Beard Martin Clark Caroline Collier Penelope Curtis Anna Cutler Chris Dercon Rob Gethen Smith Christoph Grunenberg Adrian Hardwicke Andrea Nixon Mark Osterfield Cheryl Richardson Deirdre Robertson Marc Sands Kate Sloss Rebecca Williams During 201112 Francesco Manacorda was appointed to the post of Artistic Director, Tate Liverpool and took up this appointment in April 2012. Published 2012 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 2012 ISBN 978-1-84976-153-6 A catalogue record for this book is available from the British Library 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 Jason Becker, Helen Beeckmans, Celeste Menich, Patrizia Ribul and Andrew Tullis This document was edited on 9 November 2012 to remove a reference to John Skeaping being a war artist.     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