TATE REPORT 08-09

Tate Report08–09

Tate Report 08

–09

It is the exceptional generosity and

vision of individuals, corporations,

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 020 7887 4900

Fax 020 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

Published 2009 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 2009

ISBN 978 1 85437 916 0

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.

Produced, written and edited by

Mary Douglas, Ruth Findlay, Masina

Frost, Will Gompertz, Georgia Malden,

Caspar van Vark and Eve Wilson

Designed by

Why Not Associates

www.whynotassociates.com

Photography by

James Deavin

www.jamesdeavin.com

Paper supplied by

Fenner Paper

www.fennerpaper.co.uk

Printed by

Push

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Printed on FSC paper using

vegetable-based inks














and research



of our visitors.




Development Office

Tate

Millbank

London SW1P 4RG

Tel 020 7887 4900

Fax 020 7887 8738



New York, NY 10001

USA

Tel +1 212 643 2818

Fax +1 212 643 1001

Or visit us at


Published 2009 by





© Tate 2009

ISBN 978 1 85437 916 0













Designed by

Why Not Associates


Photography by

James Deavin

www.jamesdeavin.com

Paper supplied by

Fenner Paper


Printed by

Push

www.push-print.com



Contents /

Introduction 02

Art and Ideas / Collection Acquisitions 10Caring for the Collection 12Research and scholarship 15Acquisition highlights 17

Art and Ideas / ProgrammeIntroduction 34Calendar 36Tate Britain 38Tate Modern 40Tate Liverpool 42Tate St Ives 44

Audiences / Learning Adult programmes 46Live events 47Families and children 48Young people 49

Audiences / Beyond Tate Online, media and publishing 52Sharing with the nation 56Sharing with the world 58

Improving the Organisation Developing staff 60Funders and supporters 63Operational effi ciency 65

Future Developments 66

Financial Review 68

Donations, Gifts, Legacies 74and Sponsorships

This report is also available to download in PDF and large-print versions – visit www.tate.org.uk/report

2

Introduction

Art challenges us to think again and is a force for refl ection, growth and change. In today’s diverse, fast and mobile world, museums provide us with opportunities and spaces where we can come together, consider our identities, discover our passions and share them with others.

The vision for Tate in 2015, which we set out in 2007, continues to guide our development: we are committed to extending public engagement with the visual arts and aim to become more collaborative, inclusive, open, global and entrepreneurial in the way we work. We also seek to stimulate discussion with – and among – our audiences. The character and calibre of Tate’s Collection, programmes, buildings and staff are crucial to achieving this ambition.

An evolving Collection /Thanks to the vision and extraordinary generosity of many artists, collectors and donors, this year we were able to enhance signifi cantly the breadth and quality of the Collection.

The unprecedented gift to Tate and National Galleries of Scotland by the gallerist Anthony d’Offay of over 700 works, the ARTIST ROOMS collection, was announced early in 2008 and accessioned during the year. ARTIST ROOMS augments the national collection’s representation of post-war and contemporary art in many different ways. In the spring of 2009, it began to be shown across the country in eighteen galleries stretching from St Ives to Stromness.

Artists are among our most generous benefactors. Following David Hockney’s gift in 2008, his painting Bigger Trees Near Warter 2007 was accessioned this year. Other important gifts were received from Michael Craig-Martin, Tacita Dean, Léon Ferrari and Robert Frank, among others. We were also successful in expanding the geographical range, artists and practices represented in the Collection. Acquisitions of work by artists such as Rirkrit Tiravanija, Tris Vonna-Michell and Vong Phaophanit are helping to broaden the Collection and lay foundations for the future.

4

Introduction

In October, following an extensive public fundraising campaign, Tate acquired Peter Paul Rubens’s The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall c1628–30. Sir Geoffroy Millais also generously gave John Everett Millais’s Dew-Drenched Furze 1889–90 in memory of his father on the occasion of the 190th anniversary of Sir Henry Tate’s birth.

Improving understanding of the Collection remains a focus. This year we founded the fi rst three Tate Research Centres devoted to the study of British Romanticism, Rethinking Modernism and The Artist Colony. Each will provide a platform for collaboration and scholarship. They will also inform the development of the Collection and programme by adding to the depth and range of information available to our audiences.

Programme and engaging with audiences /Tate’s programme promotes discussion about art and ideas. We want to engage with audiences in our galleries, but also beyond: we do this through community and educational programmes and, increasingly, the innovative use of partnerships and new media.

Our Collection displays were strengthened this year by extraordinary loans such as works by Edward Burne-Jones and Frederic Leighton from the Museo de Arte de Ponce in Puerto Rico, and the 25-year loan of Gerhard Richter’s cycle of six Cage 2006 paintings. Liverpool’s most signifi cant Collection display set the stage for the city’s extraordinary year as the European Capital of Culture. Tate’s Collection provided a context for the diverse exhibition programme at Tate St Ives, as in the presentation of works chosen by Heimo Zobernig as part of a special installation which he devised in Heimo Zobernig and the Tate Collection.

A successful programme of exhibitions across the four galleries drew interest from a wide range of audiences. Rothko was among the most popular Tate exhibitions ever, as was Francis Bacon. With 200,000 visitors, Tate Liverpool’s Gustav Klimt exhibition proved that audiences can be attracted by signifi cant exhibitions outside London.

6

Introduction

New initiatives in support of exhibitions, for example an edition of the online fi lm series TateShots featuring Damien Hirst discussing the work of Francis Bacon, extended the reach and longevity of the programme. We have also been developing interactive multimedia websites and television programmes, which will have a life long after the exhibitions close in the gallery.

Building trust with our visitors allows us to bring emerging and less well-known art and artists to new audiences. This year the Cildo Meireles and Adam Chodzko exhibitions enjoyed a very warm response from our visitors. Emerging artists were also presented in Turner Prize 2008, Altermodern: Tate Triennial 2009 and Liverpool Biennial: MADE UP. Each of these exhibitions surprised audiences and sparked lively debate about art and ideas today.

Future development /Public engagement with the visual arts continues to grow and makes welcome demands on our programme, learning, interpretation and visitor services. Our capital development plans aim to address this.

Raising funds in an uncertain economic environment is a challenge. But we believe that we must continue to change and develop to meet audience expectations. We have taken forward our plans to reduce overcrowding and improve visitor spaces and services. We also want to transform the way we can programme, commission and display art, and interact with audiences.

The revised plan for the development of Tate Modern, by Herzog & de Meuron, won planning permission from Southwark Council in March. The former power station’s unique oil tanks will be retained as raw spaces for art and form the foundation for the new building. Contributing to the next stage of regeneration for the area, the project will open a new north–south route into Southwark. Detailed design on the plans to improve visitor services and galleries at Tate Britain also continued this year under the guidance of Caruso St John Architects. In St Ives we continue to work closely with Cornwall County Council to progress plans for the future development of the gallery and its surrounding area.

8

Introduction

Tate Trustees as of 31 March 2009 /The Lord Browne of Madingley, FRS, FREng (Chairman)Helen Alexander, CBETom Bloxham, MBESir Howard DaviesJeremy DellerProfessor David EkserdjianAnish Kapoor, CBEPatricia LankesterElisabeth MurdochFranck PetitgasMonisha Shah

Staff and supporters /This year we were delighted that a number of our own staff were promoted to senior positions within Tate. Kate Sloss, Tate’s Head of Library and Archive, was appointed as Director of Collection Care, and Adrian Hardwicke, formerly Head of Visitor Services and Operations at Tate Modern, was promoted to Director of Visitor Services and Estates. We were also pleased to welcome Rob Gethen Smith as Director of Information Systems. Brian Gray, Tate’s Director of Operations, left to become Head of Venues at the Olympics, and curators Robin Hamlyn and Richard Humphreys both retired after long careers working at Tate. We are extremely grateful for their work over the years: Robin for his work on William Blake and Richard for his stimulating public programmes and contribution to research and scholarship in British art.

In October, we were sorry to lose Paul Myners as our Chairman following his appointment as a Minister in the government. Over the past seven years, Paul has led the Council at St Ives and the Board of Trustees. His dynamic commitment has driven Tate forward, and we would like to thank him for his passion and dedication. Sir Howard Davies served as Interim Chairman and in January the Trustees appointed the Lord Browne of Madingley as Tate’s new

Chairman. We would like to express our appreciation to Fiona Rae and Melanie Clore, who also retired from the Board this year and made particular contributions to developing Tate’s Collection and relationships with the artistic community. We were also pleased to welcome three new Trustees to the Board: Professor David Ekserdjian, as the National Gallery Liaison Trustee in April, Elisabeth Murdoch in August, and Tom Bloxham in February.

It was with great sadness that we learned of the death of the critic and writer John Russell in August. For many years a warm friend of Tate, and curator of the Balthus exhibition in 1968, he had the rare distinction of serving successively as art critic for The Times in London and The New York Times. In his eloquent prose, he was a champion of British art and will be much missed.

The Lord Browne of Madingley,Chairman, Tate Trustees

Nicholas Serota,Director, Tate

10

Art and IdeasCollection

Acquisitions /The Collection sits at the heart of Tate: we show it, we share it and we base our research and learning programmes around it. The Collection provides the material with which we tell the multiple stories of art and the world we live in to our audiences. It is therefore crucial that we continue to add to the Collection, so we can retell old stories from a fresh perspective and share with the public new ideas arising from the best contemporary art.

Occasionally the acquisition of a single work, or group of works, can be transformative. Gifts like the Turner Bequest, the Rothko gift, the Janet Wolfson de Botton gift and the Simon Sainsbury Bequest are exceptional. And so is this year's ARTIST ROOMS gift by Anthony d'Offay.

Visiting public galleries as a young man changed the course of Anthony d’Offay’s life. It eventually inspired him to promote the work of some of the most exciting post-war artists through his London gallery. With great generosity, he has now given to the nation one of the most signifi cant private collections of post-war and contemporary art ever to come into public ownership. The acquisition was made possible with the generous assistance of the National Heritage Memorial Fund, The Art Fund and the Scottish and UK Governments. The collection is called ARTIST ROOMS because it is conceived as a series of rooms dedicated to individual artists. ARTIST ROOMS comprises over 700 works by 32 artists including Diane Arbus, Joseph Beuys, Gilbert & George, Damien Hirst, Anselm Kiefer, Jeff Koons, Agnes Martin, Ed Ruscha and Andy Warhol. Owned jointly by Tate and National Galleries of Scotland, the collection has become a new national resource. It will be shared with audiences across the UK, and during the year preparations were made for ARTIST ROOMS to tour to eighteen venues in 2009–10, from St Ives to Stromness.

Artists also give generously to Tate, working with us to realise commissions, conceive exhibitions and help build the Collection. This year we received donations from artists including important works by Michael Craig-Martin, Tacita Dean, Léon Ferrari and Robert Frank. David Hockney also donated a magnifi cent large-scale painting, Bigger Trees Near Warter 2007. Adding to this, two major early paintings

by David Hockney, Study for Doll Boy 1960 and The Berliner and the Bavarian 1962, were acquired in lieu of tax.

A landmark acquisition for the historic collection was Peter Paul Rubens’s The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall c1628–30. The magnifi cent preparatory painting marks a unique moment in the evolution of British art and is the fi rst work by Rubens to enter the Collection. The campaign was ultimately successful through generous contributions from the British public, the National Heritage Memorial Fund, Tate Members, The Art Fund and many others. Another notable historic gift was Dew-Drenched Furze 1889–90 by John Everett Millais, donated by Sir Geoffroy Millais.

It is important that the Collection should represent and refl ect the world with a more global, less Western view. Susumu Koshimizu’s installation From Surface to Surface 1971 was acquired with funds from our Asia-Pacifi c Acquisitions Committee. Léon Ferrari’s work Tower of Babel 1963 and an important gift of work by Gego added new depth to Tate’s holding of historic work from Latin America. Supported by the Tate International Council, a photographic series by the Lebanese artist Akram Zaatari, in which he re-presents an extraordinary archive of portraits from Studio Shehrazade, Saida, Lebanon, enhanced our representation of Middle-Eastern art. We also introduced important works by women artists including Joan Jonas, Yayoi Kusama, Ana Mendieta, Joan Mitchell and Charlotte Posenenske.

New and emerging art forms also featured strongly. Among this year’s acquisitions are a performance piece by Nedko Solakov, which can be re-enacted in the gallery by actors, and a sound recording of a performance by Tris Vonna-Michell, which was purchased with funds from the 2008 Outset/Frieze Art Fair Fund. Installations by Paveł Althamer, Martin Creed, Mike Nelson, Vong Phaophanit, Rirkrit Tiravanija, Kara Walker and Mark Wallinger; an important group of works made by Black Audio Film Collective; and Paul McCarthy’s Projection Room 1971–2006 2006 rounded out our efforts to bring greater geographic and artistic diversity to the Collection.

12

Among the signifi cant acquisitions for Tate’s Archive this year was the generous donation of a collection relating to the British painter Keith Vaughan, which includes his journals, notebooks and photographs. Also complementing collections of other twentieth-century art critics were the papers of David Sylvester, which include valuable source material on many artists he knew personally such as Francis Bacon, Henry Moore and Alberto Giacometti.

Caring for the Collection /Conserving Tate’s developing Collection and supporting the organisation’s wide-ranging programme are demanding tasks. With each acquisition comes a responsibility to provide an appropriate environment in which to care for, display and store the work. So while everyone at Tate was excited by Anthony d’Offay’s generous gift, our Collection Care department knew that they had been set a signifi cant professional challenge.

Renowned the world over for their expertise and progressive practice, the Collection Care team have never been faced with such a complex range of artworks in a single acquisition. ARTIST ROOMS included a formaldehyde sculpture by Damien Hirst, a dinghy in full sail by Ian Hamilton Finlay, a seven-metre-long work on paper by Jeff Koons, and a life-size resin palm tree by Anselm Kiefer. But these are just a few examples of the range of works that entered the Collection over the period. Each individual artwork requires specialist analysis of the materials used and the artist’s intentions regarding the display and care of their works. The success of Tate’s Collection Care team depends on building up a deep body of knowledge about the artists’ techniques, practice and their individual works.

Although rare, sometimes it is not possible to prepare an artwork for public display owing to specifi c considerations for the piece. In 1973, Tate acquired an important fi lm-based installation by the American artist Dan Graham titled Two Correlated Rotations 1970–2. Besides the artist’s copy, these fi lms are the only ones in existence and until now it has been impossible to show them in a gallery because the

Art and Ideas / Collection

fi lms would not allow for continuous looping. Following an ambitious restoration project working with the artist, our specialists created a new master of the fi lm that can now be shown repeatedly. Striking a balance between our duties to preserve and display, the fi lm was shown for the fi rst time at Tate Modern in 2008.

Conservation research continues to inform much of our work and in 2008 we were able to share such research with our audiences during the Rothko exhibition at Tate Modern. In collaboration with the mobile laboratory, MOLAB, Tate conservators investigated the chemistry of tiny samples of paint and studied the structure of Mark Rothko’s painted layers. They discovered that Rothko modifi ed oil paints using substances such as dammar resin, egg and glue to achieve different fl ows, drying times and colours. He also rotated paintings while working on them and over-painted certain sections as part of his decision-making process about composition. This fascinating research became part of the exhibition. Using an engaging lightbox display, visitors were able to see details about the works that might otherwise have gone unnoticed.

The demands of our historic British collection are equally pressing. This year we concluded a two-year conservation assignment, the John Schaeffer Nevill Keating Conservation Project, which is part of a broader programme to improve the condition and appearance of the Collection’s eighteenth-century paintings. Six paintings by Joshua Reynolds and Johan Zoffany had their discoloured varnishes removed in order to restore them to their original appearance.

Size can be an issue too. The Sleep of Arthur in Avalon 1881–98, by Edward Burne-Jones, measures an impressive 2.8 by 6.5 metres. The painting was so large it had to be rolled for transportation from the Museo de Arte de Ponce in Puerto Rico and re-stretched in the room at Tate Britain where it was hung. It was a monumental effort requiring the combined expertise of our registrars, art handlers and conservators: but just one of many examples of the work of our resourceful Collection Care division.

14

Art and Ideas / Collection

Research and scholarship /Scholarly research underpins all our exhibitions and displays. We have therefore taken important steps towards developing a new model for research and scholarship at Tate, anchored by a series of Tate Research Centres.

This year we established the first three Centres in important areas relevant to our work and Collection: British Romanticism, Rethinking Modernism and The Artist Colony. Each is led by a ‘convenor’ from Tate’s staff who brings together colleagues sharing scholarly interests, within Tate and externally, to champion and develop research projects around each area of enquiry.

We have been assisted in our research projects through our status as an Independent Research Organisation (IRO), opening up new sources of funding. Over the past year we received grants in excess of £1 million in support of our research aspirations, including grants from the Arts and Humanities Research Council (AHRC) which is funding a collaborative research project between Tate and the University of York on the period between Anthony van Dyck and William Hogarth (1660–1730). The AHRC is also providing funds for a Research Network on Intermedia Art, a growing area of artistic practice. And a grant from the Leverhulme Trust is supporting research on the history of art-school education in London from 1960 to the present, a project that will contribute to our understanding of many of the contemporary artists with whom we work.

Scholarship also informs the creation of fresh perspectives on the Collection. This year a new series of Development Research Seminars was launched, attracting curators and art historians from around the world to develop

knowledge of non-Western art and to build on our strengths in British and Western art. Topics included contemporary art in the Middle East, and Modernism and the Black Atlantic, in advance of the exhibition at Tate Liverpool in 2010. Seminars were also held around Paul Gauguin, ahead of the exhibition in 2010 at Tate Modern, the Rubens Banqueting House sketch and Folk Art in the context of the modern museum.

Scholarly research also helps improve our understanding of audiences. Another of our major AHRC-funded projects focuses on questions of national identity and the visual arts. Launched in April 2007, Tate Encounters: Britishness and Visual Culture is a three-year research project involving Tate Britain, London South Bank University and the University of the Arts London. The project explores the relationships that migrant families in Britain have with established cultural institutions. In the spring of 2009, we conducted a series of live research events around the project, inviting members of the public along with artists, academics, curators and policy makers to discuss ideas around national identity, history and art.

Academic colleagues and researchers from across the world also continue to depend on Tate as a resource. We offer a range of services to those conducting their own research, both online and in our Library and Archive Reading Rooms. This year we also secured a JISC (Joint Information Systems Committee) Model Licence from JISC Collections. This means staff at Tate, as well as the public visiting our galleries and researchers in our reading rooms, now have access to a much wider range of online academic and scholarly research materials free of charge.

Acquisition highlightsThese acquisitions are highlights from the new works added to the Collection. For a full list of loans and works acquired, please visit www.tate.org.uk/tatereport

waiting for image

John Everett Millais

1829–96

Dew-Drenched Furze 1889–90

Oil on canvas

1732 x 1230 mm

Presented by Sir Geoffroy Millais in memory of his late father, Sir Ralph Millais, Bt 2009

T12865

Dew-Drenched Furze is widely regarded as one of the great achievements of John Everett Millais’s later career. It shows the sun streaming through a clearing of bedewed gorse in the early morning haze on the Murthly Estate in Scotland. This uncharacteristically abstract work for the artist takes the Romantic art of John Constable and JMW Turner in a new symbolist direction. The title, a loose citation from Alfred Lord Tennyson’s In Memoriam (1850), emphasises the elegiac tone of the painting. Dew-Drenched Furze has been on loan to Tate since 1996. Tate possesses an important collection of works by Millais, but only one other of the recently acclaimed late landscapes, ‘The Moon is Up, and Yet it is not Night’ 1890, a work that is rarely exhibited due to its poor condition. The addition of Dew-Drenched Furze not only establishes Millais’s place in the tradition of British landscape painting, but also enhances Tate’s representation of the artist’s late work.

Peter Paul Rubens

1577–1640

The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall c1628–30

Oil paint on primed oak panel

950 x 631 mm

Purchased with assistance from the National Heritage Memorial Fund, Tate Members, The Art Fund in memory of Sir Oliver Millar (with a contribution from the Wolfson Foundation), Viscount and Viscountess Hampden and Family, Monument Trust, Manny and Brigitta Davidson and the Family, and other donors, 2008

T12919

Peter Paul Rubens came to King Charles I’s court in 1629–30 as a diplomat from the King of Spain. He agreed to execute the ceiling of the Banqueting House (part of Whitehall Palace) to celebrate Charles’s late father’s achievements. Rubens probably made this first sketch for his own reference. In the centre, he depicts the apotheosis of King James, seen being carried up by Jove’s eagle, assisted by the figure of Justice, with Minerva (Wisdom) overhead. To either side, four ovals contain positive personifications of James’s royal qualities: Liberality triumphs over Avarice, and Discipline over Wantonness; below, upside down, Knowledge (Minerva again) triumphs over Ignorance and Heroic Virtue (Hercules) over Envy. Across the top (again, upside down) and bottom, putti, animals and swags of produce symbolise the benefits of national unity and peace. Today the real canvases still hang in the Banqueting House – the only ceiling by Rubens to survive in situ.

Gerald Leslie Brockhurst

1890–1978

Portrait of Margaret, Duchess of Argyll c1931

Oil on canvas

762 x 641 mm

Presented by Tate Patrons 2009

© Richard Woodward

T12796

In the 1930s Gerald Leslie Brockhurst’s high-focus, Renaissance-style female portraits were the sensation of the Royal Academy. They represented a fashionable assimilation of the past with the present, a modern expression of traditional artistic and aesthetic values. Combining rich decoration with subtle assessment of character, Brockhurst cannily specialised in painting highly independent celebrity women. Margaret Sweeny, later Duchess of Argyll, was one of the era’s great socialite beauties, immortalised in Cole Porter’s song You’re the Top in Anything Goes. In the early 1960s she achieved both notoriety and fame during her acrimonious divorce from the Duke, which revealed her liberated and prodigious infidelity.

Mimmo Rotella

1918–2006

With a Smile (Con un sorriso) 1962

Torn paper on canvas

1540 x 1320 mm

Presented by an anonymous donor 2008

© The estate of Mimmo Rotella

T12854

With a Smile is a key early example of Mimmo Rotella’s use of the technique of décollage with which he created works from torn street posters. Areas of text, including the word ‘Roma’ top-centre, can be found embedded in the plethora of torn papers that make up the composition. However, the predominant elements in the work are a partial head top-right, whose bright white smile appears to give the work its title, and a second incomplete image of a swashbuckling figure at the bottom. Film posters were a fruitful source for the artist and an important theme in his output, although the heavily lacerated quality of this work makes it unclear whether the images derive from cinematic posters or advertising hoardings. Incorporating processes of destruction and reconstruction, Rotella’s décollages retain traces of urban violence and chaos, yet the act of drawing together colour, form and imagery produces an all-over composition that can be read as an abstract whole.

Léon Ferrari

b1920

Tower of Babel (Torre de Babel) 1963

Steel, copper wire, bronze, tin and lead

2000 x 800 x 800 mm

Presented by the American Fund for the Tate Gallery 2009

© Léon Ferrari

T12909

Léon Ferrari is one of the most significant and influential artists of post-war Latin America; his work has been a reference point for successive generations of artists working not just in his own country, Argentina, but across the continent. He started creating abstract geometric sculptures in metal wire in the early 1960s. Tower of Babel is the last and most important ‘informel’ wire sculpture he created during this period. Ferrari described ‘babelism’ as ‘to make something without unity, with different sensibilities… or to make something between several people. To make a tower of Babel and add things made by others: Heredia, Marta Minujin, Wells, Santantonín, Badií, Althabe, Stimm, all mixed, all babelish, babelism…’ With the inclusion of elements by artists such as Alberto Heredia, Marta Minujin and Rubén Santantonín, this sculpture represents a unique key to Argentinian experimentalism of the 1960s and to the interface between Argentinian Informelism, Pop and Conceptualism.

Bruce Nauman

b1941

Untitled 1965

Fibreglass and polyester resin

1219 x 406 x 1219 mm

Purchased with funds provided by an anonymous donor 2009

© ARS, NY and DACS, London 2009

T12890

Bruce Nauman is one of the most influential, ground-breaking and enigmatic artists of his generation. Untitled is one of Nauman’s earliest works, and an important addition to Tate’s holdings of his seminal practice. The work was made while Nauman was a student in California and is a classic example of ‘Eccentric Abstraction’. Untitled consists of two irregularly shaped bars that lean side by side from wall to floor with a slight gap between. Nauman created a plaster mould and then cast this twice using fibreglass and polyester resin, changing the pigment from off-white to yellow between one cast and the next. Small amounts of the plaster mould adhere to the outside of the fibreglass, inflecting its peculiar hues. The work anticipates Nauman’s later explorations of casting and reversal such as A Cast of the Space under My Chair 1965–8.

Diane Arbus

1923–71

Identical Twins, Roselle, N.J. 1967 1967

Black-and-white gelatin silver print on paper

375 x 386 mm

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

© The estate of Diane Arbus

AR00506

Diane Arbus is one of the most significant photographers of the twentieth century, an influential figure whose compellingly honest style of photography paved the way for contemporary photographers and artists. This is one of Arbus’s most iconic images and is typical of the style and subject matter of her work. It was taken at a party for twins and triplets in a New Jersey town and is sharply rendered in square format to capture the subtle differences in the girls’ expressions. In 1966 Arbus applied for a Guggenheim grant, with a proposal entitled ‘American Rites, Manners and Customs’. This picture fits with the intentions of her project in revealing the kind of rituals that exist in everyday life, and shows Arbus’s ability to capture the strange within the ordinary. The work is from the portfolio Box of Ten, which Arbus compiled shortly before her death, choosing images from her career that she felt to be the most successful and representative.

Charlotte Posenenske

1930–85

Prototype for Revolving Vane 1967–8

Particle board

2000 x 2000 x 2000 mm


© Estate of Charlotte Posenenske/Burkhard Brunn, Frankfurt

T12773

In a brief artistic career spanning less than a decade, Charlotte Posenenske confronted the question of the original artwork and developed an interest in systems and structures derived from mass production and standardisation. She also incorporated interactivity into the construction and placement of her work. Posenenske’s concept of art was democratic, reflected in her use of unlimited, reproducible editions. Prototype for Revolving Vane is the original model re-used by the artist to create a series of box-like constructions. These constructions take the form of a room, articulated and open to various arrangements and configurations. Door-like elements can be revolved on a vertical axis and were originally designed to be manipulated by the viewer. The prototype is an extremely rare example of an original historic object constructed by Posenenske. By contrast the revolving vanes themselves can be reproduced again and again. The prototype is made from found particle board on which the remnants of graffiti can be seen, highlighting the artist’s use of cheap, easily available materials.

Susumu Koshimizu

b1944

From Surface to Surface 1971, remade 1986

Wood

3000 x 300 x 60 mm

Presented by the Asia-Pacific Acquisitions Committee 2008

© Susumu Koshimizu

T12822

Susumu Koshimizu was one of the key figures of the Mono-ha movement, an affiliation of artists based in Tokyo in the late 1960s and early 1970s. Mono-ha work is defined by its materiality, often combining organic and industrial objects and processes. Koshimizu’s practice is characterised by an expression of the properties of materials, often through juxtaposition. From Surface to Surface is a sequence of fourteen planks of wood, each carved in a unique geometric pattern. In this work Koshimizu investigates the substance of wood, exposing its surface qualities through different kinds of repetitive cuts. The geometric lines produced by an industrial saw contrast with slight irregularities resulting from missing chips, slips of the saw, and the rough surface of certain edges. The planks are displayed leaning against a wall, lending an informal quality to the work. The installation combines seriality and repetition with distinctive differentiation between the individual components.

Robert Frank

b1924

Contact Sheets from The Americans 1955–6; printed 1970s

Twelve gelatin silver prints on paper

Each 500 x 398 mm

Presented by the artist 2009

© Robert Frank, from The Americans

P79744–P79755

During his long and peripatetic career, Robert Frank has produced work that combines gritty realism with more allusive imagery, blending reportage, autobiography and poetry. In 1958 he published his seminal photo-book The Americans, the result of over two years travelling across the continental United States with his Leica. Frank’s book was greeted with critical derision on publication but has since become one of the most influential photography books of the twentieth century. The deliberately grainy, apparently casual images belie a careful and considered view of the ‘real’ America of the late 1950s that does not shy away from racial and social tensions. Many of the images in the book suggest a sense of isolation and loneliness in a burgeoning consumer culture. The 83 pictures Frank chose for the book were selected from 28,000 photographs he took on his travels. This selection of proof sheets, enlarged from the original negatives, includes published images and others taken along the way, placing his best-known work in the context of his travels.

Andy Warhol

1928–87

Skulls 1976

Acrylic and silkscreen ink on canvas

Six parts, each 383 x 483 mm


© Licensed by the Andy Warhol Foundation for the Visual Arts, Inc/ARS, New York and DACS, London 2009

AR00609

After he was shot and critically injured in 1968, Andy Warhol became even more obsessed with death than he had been previously. The subject of death permeates most of his work, which frequently focuses on the transience and violence of human existence. In this multi-part painting, Warhol has created a still-life of a skull. This traditional symbol for death in the history of art, known as a ‘memento mori’, was used to remind viewers of their own mortality. Repeated here six times, the impenetrable darkness of the hollow eye sockets is echoed in each image. The shadow cast by the skull resembles a baby’s profile, although whether this was intentional is unknown since Warhol did not take the photograph that the painting is based on. It seems unlikely, however, that this effective combination would escape Warhol’s sharp gaze. Despite its sinister evocations, the skull is treated with Warhol’s characteristic array of vibrant colours, applied in thick impasto.

Ana Mendieta

1948–85

Untitled (Blood and Feathers #2) 1974

8 mm colour film transferred to video, silent, duration 3 min 30 sec

Overall display dimensions variable

Presented by the Estate of Ana Mendieta Collection and an anonymous donor 2009

© The estate of Ana Mendieta, courtesy Galerie Lelong, New York

T12916

Ana Mendieta examines issues of personal identity and femininity through her work, which is rooted both in nature and in the body. She worked on a human scale and emphasised the solitary body in relation to the landscape. Borrowing freely from a variety of cultural traditions throughout the world, Mendieta frequently appropriated symbols and aspects of the ritual practices of ancient and indigenous cultures of the Americas, Africa and Europe. This film shows an action she performed at Old Man’s Creek in Iowa in 1974, in which Mendieta, standing in front of the creek, poured blood over her body and then rolled in down and feathers. She ends the performance with her arms outstretched suggesting a being that is part-human, part-bird. Assuming the form of a bird has great significance, being at once the symbol of the soaring spirit and also that of sacrifice, while the water is a symbol of rebirth.

Gego (Gertrud Goldschmidt)

1912–94

Untitled (Sin título) c1977

Welded bronze

580 x 640 mm

Presented by Luis Benshimol 2009

© The estate of Gertrud Goldschmidt

T12898

Gego is one of the most significant figures in the history of Latin-American abstract geometric art. This work is from a series of rigid, sphere-shaped sculptures made of welded bronze wire produced in 1976 and 1977. Thick wires or rods were welded together to create a geometric pattern of triangles and pentagons. Works of this type were originally displayed directly on the gallery floor in a grouping the artist called ‘breñales’, a Spanish term loosely translated as ‘scrubland’. The geometric forms can be seen in some cases as somewhat literal translations of didactic, mathematical models, but Gego’s intention was to subtly disrupt such models and, especially through the complex accumulation of forms in display, to establish a dialogue between the orderly and the chaotic. Although her work can be seen in relation to abstract-geometric constructivist and kinetic work, Gego deliberately aimed to move beyond this frame of reference and establish a highly personal style based on her investigation of line, motion, space and the role of the spectator.

Joseph Beuys

1921–86

Scala Napoletana 1985

Wood, steel wire and lead



© DACS, 2009

AR00086

Much of the work Joseph Beuys made in the last years of his life includes objects or themes which suggest death and communication with a spiritual life beyond. This magisterial sculpture was one of the final pieces that Beuys made and evokes the taut line between life and death, and the relationship between earth and heaven. The pair of lead spheres holds the ladder in suspension. In this way, the ladder is held erect – suggesting ascension to the heavens – but simultaneously prevented from soaring into the air, maintaining a connection with the weight and tangibility of the earth. The work was inspired by a ladder the artist found while recovering from an illness on the island of Capri in Italy in the autumn of 1985, which he hung with two stones. When he visited Amalfi at Christmas in the same year, he purchased another ladder from a landlord which he used to make this sculpture.

Black Audio Film Collective

Handsworth Songs 1986

Video (originally shown as 16 mm film) with sound, duration 59 min


Presented by Tate Members 2008

© courtesy Smoking Dogs Films

T12862

Black Audio Film Collective was founded in 1982. Central to reclaiming black representation in both cultural and political terms, the group used the ‘figuration of ethnicity’ as a recurrent motif, and reflected on real and imagined black experiences of early 1980s Britain. As a documentary film work, Handsworth Songs makes reference to the riots in Handsworth, Birmingham during Sept 1985 and the institutional response to them. But from a broader perspective it represents the hopes and dreams of post-war black British populations in the light of civil disturbances of the 1980s. A richly layered bricolage – the film is made up of footage from Birmingham and London as well as still-life tableaux, TV newsreel and archival material ranging from scenes of colonial labour to images of Afro-Caribbean and Asian migrant experience – Handsworth Songs engages with Britain’s colonial past, its public and private memories, and the struggles of race and class.

Joan Mitchell

1926–92

Chord II 1986

Oil on canvas

1620 x 970 mm

Presented by Jytte Dresing through The Merla Art Foundation 2009

© The estate of Joan Mitchell

T12921

Joan Mitchell is one of the most important representatives of a second generation of Abstract Expressionist painters. Together with Helen Frankenthaler and Lee Krasner, Mitchell was one of the few women to be admitted to this otherwise male group of artists. Throughout her career she steadfastly exploited the continuing possibilities of an abstract painting based on her formative years, keeping a certain distance from the artistic mainstream of that period. Chord II was painted in the later part of the artist’s career, by which time she was living in Vétheuil, a small town near Paris where Claude Monet had once resided. Though nature formed an important inspiration for Mitchell’s late work, she was keen to assert that her practice was studio-bound and that it was primarily the emotional and visual potential of painting in which she was interested. Like much of the work of her final decade, Chord II displays a bold use of colour and an energetic and open configuration of abstract gesture that is further accentuated by prominent drips of paint.

Mark Wallinger

b1959

Royal Ascot 1993

Video installation consisting of four monitors, travelling cases and speakers



© Mark Wallinger

T12810

In the early 1990s Mark Wallinger created a diverse group of works that looked at the world of horse racing and breeding, as a way of addressing issues of class and national identity. Royal Ascot is a synchronised four-screen video installation. Each monitor, mounted on its own travelling case and placed in a row side by side, features an extract from the BBC’s broadcast of the Royal Family’s parade around the racetrack on each of the four days that the Royal Ascot race meeting takes place. The procession (and the commentary of it) is almost identical every day. The simultaneous display of these extracts enhances the invariable nature of a choreographed event – somehow suggesting that strict repetition, and a commitment to understand that whatever happens is what has to be, is the only way to preserve tradition.

Juan Muñoz

1953–2001

The Prompter (Le Souffler) 1988

Iron, papier-mâché, bronze, wood and linoleum


Presented by the artist’s estate 2008

© The estate of Juan Muñoz

T12797

Juan Muñoz emerged as a prominent figurative sculptor in the late 1980s. The Prompter involves a construction like a small stage. Raised several feet off the floor by metal supports, the empty platform is covered with geometric trompe l’oeil-patterned linoleum tiles. Facing the stage like audience members, visitors can see the backs of the legs of a resin dwarf whose upper torso and head are encased in a small grey booth at the front of the stage. A large bronze drum leaning against the wall at the rear of the stage suggests a performance that has just ended, or one set to begin. The Prompter was partly inspired by the historical figure François de Cuvilliés (1695–1768), a Bavarian architect who had served under Maximilian II Emmanuel as court dwarf. Muñoz also applied the French title Le Souffler to the work in homage to a satirical Honoré Daumier lithograph of the same name depicting the first president of the Third French Republic inside a prompter’s box following a script.

Vong Phaophanit

b1961

What Falls to the Ground but Can’t Be Eaten 1991

Bamboo poles and lights



© Vong Phaophanit

T12860

Vong Phaophanit was born in Laos, but now lives in Britain. In 1993 he was nominated for the Turner Prize. Phaophanit is known for using materials such as rice, bamboo and rubber that have a specific cultural resonance with his Laotian origins. What Falls to the Ground but Can’t Be Eaten consists of a dense curtain of bamboo suspended from the ceiling but not touching the floor. The bamboo forms an inner ‘wall’ within the gallery space, and encloses an area that is brightly lit from above. The viewer must push through the hanging bamboo to gain entrance to this inner space. Phaophanit has noted his interest in boundaries between the inner and outer, inside and outside. The title of the work – What Falls to the Ground but Can’t Be Eaten – proposes to the viewer a riddle, to which the answer is light. This too seems to allude to the status of the artwork itself, that it can be seen and encountered but not consumed or appropriated.

Ian Hamilton Finlay

1925–2006

Sailing Dinghy 1996

Room installation comprising clinker-built boat and wall texts

6200 x 4400 x 1400 mm


© The estate of Ian Hamilton Finlay

AR00021

Ian Hamilton Finlay first came to prominence in the 1960s as one of Britain’s foremost concrete poets. He later extended his practice to include a wide range of materials, often combining words and objects. The sea was the subject of Finlay’s earliest printed works and sculptures, and it continued to be a dominant theme throughout his life. He viewed it as an example of nature’s power and problematic beauty. The room installation Sailing Dinghy comprises a clinker-built sailing boat, which the artist himself sailed, installed alongside a short poem painted onto the wall. The dinghy’s bow, sails, rudder and stern are labelled with numbers referenced in the poem. The poem’s simple phrases evoke the power and movement of the vessel, encouraging the viewer to make a mental voyage from gallery to sea. The now static and landlocked vessel provides a contrast to this flight of imagination with its stillness and physical presence.

Martin Creed

b1968

Work No. 203: EVERYTHING IS GOING TO BE ALRIGHT 1999

Neon

500 x 13000 mm


© Martin Creed

T12799

Martin Creed’s work emerges from an ongoing series of investigations into commonplace phenomena. His works are identified primarily by numbers, so each piece is added to his system with equal status, regardless of size or what it is made of. Creed’s subtle interventions reintroduce us to elements of the everyday. His choice and use of materials, such as plain sheets of paper, Blu-tack, masking tape and party balloons, is a thoughtful celebration of the ordinary, a focused reading of the ambiguity of stuff. Work No. 203: EVERYTHING IS GOING TO BE ALRIGHT, Creed’s first neon work, was originally installed at a derelict listed landmark in Clapton, East London. The neon spells out the hackneyed yet ambiguous cliché ‘everything is going to be alright’, which can be variously interpreted as optimistic, trite, stoical or tinged with sadness or foreboding. The uncertainty of its meaning, and the desire to make sense of it within its immediate environment, combine to activate both the work’s and the viewer’s relationship to the place in which it is installed.

Mike Nelson

b1967

The Coral Reef 2000

Mixed media



© Mike Nelson, courtesy Matt’s Gallery, London

T12859

Mike Nelson creates large-scale sculptural installations that are carefully crafted from discarded everyday materials. They fuse literary, filmic, socio-political and cultural references, which are often related to the geographic or historic specifics of the site in which the work is placed. The Coral Reef is Nelson’s first major labyrinthine work. It consists of a sequence of fifteen interconnecting rooms, a maze of corridors and rooms with multiple doorways. One room is suggestive of a minicab office, another of an opium den, a third has Soviet English-language propaganda lying about and a picture of happy smiling men in sombreros, standing by a cactus. All the interiors appear recently occupied yet run down. The sense of absence is palpable and disturbing. Throughout there is a carefully contrived air of claustrophobia. The maze-like structure reinforces the feeling of cultural disorientation and confusion which, as the artist describes, renders the viewer momentarily ‘lost in a world of lost people, a dingy substrata of any global city in a mocking existential loop which both offers escape and entrapment’.

Kara Walker

b1969

Grub for Sharks: A Concession to the Negro Populace 2004

Cut paper



© Kara Walker

T12906

Kara Walker’s work engages with history and how it is distorted through re-telling. She attacks myths related to race and sexuality, exposing the power struggles underlying personal and political relationships. Grub for Sharks: A Concession to the Negro Populace is a room-sized installation of black silhouette cut-outs inspired by JMW Turner’s painting Slavers Throwing overboard the Dead and Dying – Typhon Coming On (‘The Slave Ship’) exh 1840. ‘Grub for sharks’ refers to the practice of throwing slaves overboard to their death in order to lighten ships’ loads in anticipation of storms at sea during the middle passage between Africa and North America. Walker expands the scope of the slavery narrative, including figures in a sugar-cane plantation in scenarios that undermine stereotypical readings of race and gender. The work was originally commissioned by Tate Liverpool for Walker’s first solo exhibition in the UK in 2004. Grub for Sharks draws on Turner, the role of the British Empire and Tate’s own history. Walker’s treatment of these subjects however is typically oblique, suggesting broader historical and contemporary resonances.

Rirkrit Tiravanija

b1961

Untitled, 2005 (sleep on earth, eat on sand) (Untitled, 2005 (non-gab-din, kim-gab-sai)) 2005

Contractor’s shed, four gas cookers, four woks, Thai-style mats and mixed media

3000 x 2000 x 3000 mm

Purchased with assistance from Tate International Council 2009

© Rirkrit Tiravanija

T12899

Rirkrit Tiravanija is best known for installation performances that directly engage the audience in a social environment. The artist is of Thai origin and in his early works he often used the skills he learned from his grandmother, a cook. This work consists of a disused contractor’s shed in which Tiravanija set up a cooking station from which he made and served pad thai to visitors. The work is historically significant as it marked the last time the artist was to cook for the public in this way (he first made Thai curry for gallery-goers in 1990). During the work’s first incarnation at an exhibition in Berlin, cooking took place in and around the shed, one wall of which was removed and used as a table top on which the food was served. The structure now resembles a vitrine or diorama. In keeping with Tiravanija’s practice, the remnants of the Berlin performances, including cooking utensils and food remains, now constitute part of the work and are sealed in the shed.

Nigel Cooke

b1973

New Accursed Art Club 2007

Oil on canvas

2202 x 3702 mm

Purchased with the assistance of private donors and the Millwood Legacy 2009

© Nigel Cooke

T12820

Nigel Cooke’s paintings oscillate between two extremes – he works on an epic scale, but dwells on the minutiae of decay and dissolution. Meticulously painted and minutely detailed, Cooke’s landscapes are dismal and dysfunctional, littered with all kinds of debris, derelict buildings, burnt-out cars and graffiti. Each canvas offers an unsettling encounter with entropy and excess. New Accursed Art Club adopts the role of painting and the ideal of a transformative culture (both high and low) as its subjects. A sense of tragicomic melodrama has characterised much of Cooke’s recent work. With this painting he has enlarged on this theme to examine the role of the artist as an absurd and impotent figure, alluding to the supposed death of painting as much as to the broken ideals of Modernism.

Paul McCarthy

b1945

Projection Room 1971–2006 2006

Installation comprising colour video projection with audio track and colour slide projection



© Paul McCarthy

T12908

Paul McCarthy gained recognition for intense performance and video-based work on taboo subjects such as the body, sexuality, violence and dysfunction, using bodily fluids, paint and food to create elaborate and grotesque critiques of cultural icons. Projection Room 1971–2006 is an installation consisting of seventeen videos and approximately 160 slides projected in an overlapping configuration on two opposing walls. The artist has selected some of his most important films and slides from the 1970s and early 1980s for the installation. Most of the films were made in the intimate settings of McCarthy’s homes and studios in Pasadena and Los Angeles, making their selection very personal. The participants were mainly close friends of the artist, and included his wife Karen McCarthy. The artist considers the work to be an expanded portrait of himself and his wife. Projection Room 1971–2006 elaborates McCarthy’s long-term interest in how actions and histories are documented and archived. The work’s particular arrangement continues the artist’s ongoing investigation into the power, psychology and politics of architecture and space.

Albert Oehlen

b1954

Loa 2007

Acrylic, collage and oil on silkscreened canvas

1702 x 3102 mm


© Albert Oehlen

T12808

Albert Oehlen has referred to his practice as ‘post-non-representational’. Loa is typical of his use of found imagery, collage and text within the context of painting. In this work and others from the same series, Oehlen appropriates phrases and lyrics from the German techno band Scooter in order to evoke atmosphere rather than to offer a specific message. The title of the work derives from the word ‘LOATH’ that appears twice across the top of the painting. The first iteration of the word is partly obliterated by a collaged page from the German black metal magazine Ablaze. A barcode and a Spanish text referring to chinaware suggest advertising imagery and product design. Oehlen’s juxtaposition of unrelated imagery has resonances with techniques employed by the Surrealists, and his choice of objects, references and words are not intended to convey any special meaning.

Paweł Althamer

b1967

FGF, Warsaw (FGF, Warszawa) 2007

Mixed media

2190 x 3010 x 2000 mm

Purchased using funds provided by the 2007 Outset/Frieze Art Fair Fund to benefit the Tate Collection 2009

© Paweł Althamer

T12915

Paweł Althamer has established an international reputation through his diverse multimedia practice which includes traditional sculpture, installation, film, video and performance. FGF, Warsaw is a complex work that highlights his interests in communal practice and collaboration through a network of references, with contributions from other artists and members of the artist’s family. Named after the Foksal Gallery Foundation in Warsaw, which represents the artist, the work takes the form of a structure with four walls and a ceiling that can be fitted together to create a transit crate. When opened, it reveals a mobile gallery that includes artworks, found objects and books that draw together ideas relating to social, cultural and economic exchange as well as the history of Foksal. The layout of the work was strongly influenced by the Polish architect Oskar Hansen, who is the subject of Artur Zmijewski’s documentary film A Dream of Warsaw 2005. Zmijewski’s video now forms part of Althamer’s installation, as do artworks by other contemporary Polish artists, including Monika Sosnowska, Wilhelm Sasnal and Jakub Julian Ziółkowski.

Akram Zaatari

b1966

Objects of Study/The archive of studio Shehrazade/Hashem el Madani/Studio Practices 2007

117 gelatin silver prints on paper taken between 1948 and 1982 by Hashem el Madani


Presented by Tate International Council 2008

© Akram Zaatari, courtesy Hashem el Madani and Arab Image Foundation, Beirut

P79396–P79512

Through his art practice and his establishment of the Arab Image Foundation, Akram Zaatari has constructed a rigorous examination of photographic and filmic images and their capacity to critically represent history. This project brings to public attention the archive of Hashem el Madani, who began working as a studio photographer in Saida, Lebanon in 1948. Madani’s studio was perceived as a safe haven, where people could act out their fantasies within the conventional format of portrait photography. Madani records the poses, clothes and behaviour of his clients, reflecting the social and political context in which they lived as well as the norms and taboos of the period. He portrays anonymous individuals and groups, people who normally fall below the radar of public interest. Many of the works in the portfolio fall into sub-categories (for instance Syrian Resistants, Students and Teachers of Aisha Om el Mo’minin School for Girls), and each photograph can be shown individually or in groups.

Thomas Scheibitz

b1968

90 Elements 2007

Oil on canvas

1820 x 3650 mm

Purchased with funds provided by the Nicholas Themans Trust 2009

© VG Bild-Kunst, Bonn, courtesy the artist and Tanya Bonakdar Gallery, New York

T12848

Thomas Scheibitz uses a vocabulary of geometric forms which he distorts and condenses into vibrantly coloured shapes to present an abstracted vision of the media-driven world. 90 Elements is a monumental, horizontally formatted canvas. The central area is filled with differently shaped and variously orientated cubes, each with one side painted a single colour. The mass of boxes is set against a grey ground, and the shallow space is further emphasised by a flat, square or rectangular block of neutral colour placed at each of the four corners of the canvas. Scheibitz rejects a slick finish in his work, and his process is evident in the markings and drips found throughout the canvas. The composition suggests controlled chaos and plays with the viewer’s perception of space with an amalgamation of perspectives. The work’s title refers to the nineteenth-century periodic table of the 90 chemical components found in the natural world, and suggests an ironic comment on science’s attempts to discern or impose order on natural phenomena.

Art and IdeasProgramme

34

This year the exhibition and display programme across Tate’s four galleries included major exhibitions of Francis Bacon, Gustav Klimt and Mark Rothko, a strand devoted to emerging artists at all four galleries, a range of mid-career monographic exhibitions and the imaginative presentation of our free Collection displays. This multi-faceted programme was united by a common Tate approach: to challenge and inspire our audiences with a contemporary perspective on art. Whether it be a Tudor masterpiece or a new commission, our aim is to offer audiences experiences that stimulate and inform their lives today.

However, the programme – with its breadth and depth – would not be possible without making partnership central to our way of working. Almost everything we create depends on collaboration with others. Exhibitions, commissions, Collection displays and acquisitions all require an exchange of ideas and expertise with artists, museum colleagues, researchers, lenders and supporters. And working in partnership has benefi ts that go beyond the ability to generate our programme: it has a profound effect on Tate as an organisation by challenging us to develop new ideas and methods. We are extremely grateful to our partners for their generosity and wisdom, and thank them for their help in enabling us to present a successful programme across all of our galleries and activities.

Art and Ideas / Programme

Tate Britain Exhibitions Dates

The Return of the Gods: Neoclassical Sculpture 28 Jan – 8 June 08

Art Now: Strange Solution 2 Feb – 13 April 08

Peter Doig 5 Feb – 11 May 08

Modern Painters: The Camden Town Group 13 Feb – 5 May 08

BP Exhibition: Drawn from the Collection 25 Feb 08 – 1 Mar 09

Lightbox: Derek Jarman 5 April – 1 June 08

Art Now: Alan Michael 3 May – 20 July 08

Art Now: Juneau Projects 2 June – 26 Oct 08

Mitra Tabrizian: This is that Place 4 June – 10 Aug 08

The Lure of the East: British Orientalist Painting 4 June – 31 Aug 08

Lightbox: Simon Martin 6 June – 27 July 08

Nahnou-Together Now 6 June – 7 Sept 08

Tate Britain Duveens Commission: Martin Creed 1 July – 16 Nov 08

Lightbox: Bonnie Camplin 2 Aug – 28 Sept 08

Art Now: The Way In Which It Landed 2 Aug – 26 Oct 08

Bill Fontana: Speeds of Time 5 Sept – 3 Oct 08

Francis Bacon 11 Sept 08 – 4 Jan 09

Turner Prize 2008 30 Sept 08 – 18 Jan 09

Lightbox: Vong Phaophanit 4 Oct – 30 Nov 08

Art Now: Nashashibi/Skaer 8 Nov 08 – 4 Jan 09

Bob and Roberta Smith: Make Your Own Xmas 5 Dec 08 – 4 Jan 09

Art Now: Hurvin Anderson 3 Feb – 19 April 09

Altermodern: Tate Triennial 09 3 Feb – 26 April 09

Van Dyck and Britain 18 Feb – 17 May 09

Turner/Rothko 23 Mar – 26 July 09

BP British Art Displays Ongoing

Tate Modern Exhibitions Dates

Restaurant Commission: James Aldridge 18 Aug 07 – present

The Unilever Series: Doris Salcedo 9 Oct 07 – 6 April 08

Juan Muñoz A Retrospective 24 Jan – 27 April 08

Maison Tropicale for Design Museum at Tate Modern 5 Feb – 13 April 08

Duchamp, Man Ray, Picabia 21 Feb – 26 May 08

Level 2 Gallery: Here We Dance 14 Mar – 26 May 08

Conceptual Models: Recent Contemporary Acquisitions 26 April 08 – 5 April 09

Sign and Texture 5 May – 26 Oct 08

Street & Studio: An Urban History of Photography 22 May – 31 Aug 08

UBS Openings: The Long Weekend 23–26 May 08

36

Street Art 23 May – 25 Aug 08

Level 2 Gallery: 9 Scripts from a Nation at War 13 June – 25 Aug 08

Cy Twombly: Cycles and Seasons 19 June – 14 Sept 08

H BOX 3 July – 17 Aug 08

Level 2 Gallery: Latifa Echakhch 19 Sept – 23 Nov 08

Rothko 26 Sept 08 – 1 Feb 09

Cildo Meireles 14 Oct 08 – 11 Jan 09

The Unilever Series: Dominique Gonzalez-Foerster 14 Oct 08 – 13 April 09

UBS Openings: Paintings from the 1980s 12 Nov 08 – 13 April 09

Level 2 Gallery: Nicholas Hlobo 9 Dec 08 – 29 Mar 09

Rodchenko & Popova: Defi ning Constructivism 12 Feb – 17 May 09

Roni Horn aka Roni Horn 25 Feb – 25 May 09

Level 2 Gallery: Stutter 19 Mar – 16 Aug 09

UBS Openings: Tate Modern Collection Ongoing

Tate Liverpool Exhibitions Dates

Niki de Saint Phalle 1 Feb – 5 May 08

Gustav Klimt: Painting, Design and Modern Life in Vienna 1900 30 May – 31 Aug 08

Liverpool Biennial International Festival: MADE UP 20 Sept – 30 Nov 08

Tate 08 Series: William Blake, The River of Life 12 Dec 08 – 29 Mar 09

The Fifth Floor: Ideas Taking Space 16 Dec 08 – 1 Feb 09

Glenn Brown 20 Feb – 10 May 09

DLA Piper Series: The Twentieth Century, How it looked & how it felt 29 Sept 07 – 29 Mar 09

Tate St Ives Exhibitions Dates

Rose Hilton: A Selected Retrospective 26 Jan – 11 May 08

Bernard Leach and his Circle 26 Jan – 11 May 08

Hugh Stoneman: Master Printer 26 Jan – 11 May 08

Margo Maeckelberghe: Extended Landscape 26 Jan – 11 May 08

Adam Chodzko: Proxigean Tide 24 May – 21 Sept 08

Dawn of a Colony: Picturing the West, St Ives 1811–1888 24 May – 21 Sept 08

Modernism in St Ives 24 May – 21 Sept 08

Heimo Zobernig and the Tate Collection 4 Oct 08 – 11 Jan 09

A Continuous Line: Ben Nicholson in England 24 Jan – 4 May 09

Luke Frost: Artist in Residence 24 Jan – 4 May 09

Bernard Leach and his Circle 24 Jan – 4 May 09


38

Tate Britain /The Francis Bacon centenary exhibition, sponsored by Bank of America, strengthened the gallery’s reputation for presenting fresh perspectives on British art. The show brought together 65 of Bacon’s most important paintings and provided the fi rst major UK reassessment of his work since the opening of the artist’s studio and the revelation of its contents following Bacon’s death in 1992. The exhibition, which shed new light on Bacon’s remarkable sources, processes and thoughts, was both a critical and popular success enjoyed by over 235,000 visitors. The exhibition would not have been possible without the generous assistance of the Estate of Francis Bacon, and we are extremely grateful for their support of this important exhibition.

Tate Britain’s programme has also been marked by its strong commitment to contemporary art. The exhibition of Peter Doig’s emotionally charged paintings generated a record attendance for a mid-career monographic show of a contemporary British artist at the gallery. And with over 90,000 people visiting the Turner Prize, won this year by Mark Leckey, it is clear that the public’s desire to engage with and comment on the art of their time continues to grow.

The third and most ambitious major contemporary art show of the year was Altermodern, the fourth Tate Triennial. Nicolas Bourriaud, Gulbenkian Curator of Contemporary Art, proposed a new era in art, described as Altermodern. The exhibition’s argument, that there is a new art movement responding to an age characterised by global perspective, travel and communication, generated widespread debate. In addition to a full programme of public events, the exhibition was preceded by four one-day ‘prologues’ in which artists, academics, journalists and the public discussed themes around the Altermodern Manifesto.

Of course, art is an ever-evolving story: recent developments are informed by the past, but they also create new perspectives on art history. The programme of historic art is therefore as relevant to our lives today as its modern and contemporary counterpart. The Van Dyck and Britain exhibition explored the revered artist’s enduring infl uence on British portraiture. The exhibition included rare loans

from the Royal Collection and the National Trust, revealing Anthony van Dyck’s visual legacy to generations of British painters including Thomas Gainsborough, Joshua Reynolds and John Singer Sargent. Van Dyck was also a pupil of Peter Paul Rubens and the exhibition included Tate’s newly acquired work by Rubens The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall c1628–30.

The Lure of the East was an historic exhibition with close relevance today. It explored British responses to the idea of the ‘Orient’ from 1780 to 1930, and received wide critical praise. Mitra Tabrizian: This is that Place, devoted to recent work by the Iranian-British photographer and fi lm director, provided a contemporary counterpoint to the debate. Echoing ideas explored in the Tate Triennial, her work addresses themes of culture, migration and homelands.

The Duveen Galleries, the magnifi cent space that runs through the middle of Tate Britain, were the location of an exceptional programme of historic and contemporary art. The Return of the Gods, an exhibition of dramatically lit Neoclassical sculpture, was shown to spectacular effect in the space and was followed by Martin Creed’s commission Work No. 850, supported by Sotheby’s, which featured an athlete sprinting through the galleries every 30 seconds. Evoking connections with fi gurative sculpture, the work offered a provocative and fresh perspective on the human body and the gallery experience.

Providing the context and inspiration for Tate Britain’s wide-ranging exhibition programme, and covering over 500 years, are the more than 30 rooms displaying exceptional works of British art drawn from the Tate Collection. This year as part of the major rehang of the BP British Art Displays, two works were put on public view in the UK for the fi rst time in 40 years. One of the largest and greatest works by Edward Burne-Jones, The Sleep of Arthur in Avalon 1881–98, and Frederic Leighton’s masterpiece Flaming June 1895 were both borrowed from the Museo de Arte de Ponce, Puerto Rico. In the summer of 2008, the displays were further enhanced by a special presentation of rooms themed around abstraction and collage, including works by Liam Gillick, Damien Hirst and Julian Opie.

Insert section 40

40


Twombly’s work ever seen in the UK. Of his works, art critic Laura Cumming said, ‘You can characterise Twombly’s marks… but not the way they work together to give off music or mood. In this respect, the experience of seeing them is deep but wordless.’

Rodchenko & Popova: Defi ning Constructivism brought together the pioneers of abstraction in Russia, and generated a similar, highly evocative experience. Their works defi ned their time, capturing the spirit of a newly republican Russia, but also continue to resonate powerfully today in art, design, photography and fashion. Meanwhile, French artist Dominique Gonzalez-Foerster concerned herself with the future when commissioned to create this year’s Unilever Series Turbine Hall installation. TH.2058 depicted a post-apocalyptic year of 2058 where life has been transformed by environmental degradation. Gonzalez-Foerster created a refuge with 200 metal bunk beds, sci-fi books, growing sculptures and an LED screen playing extracts from sci-fi and experimental fi lms, all to the endless drumming of falling rain.

In the summer, the exhibition Street & Studio: An Urban History of Photography contrasted photographs taken in the carefully orchestrated environment of a studio with images captured on hectic urban streets. Artists represented in the show included Diane Arbus, Henri Cartier-Bresson, Cindy Sherman, Robert Mapplethorpe and Wolfgang Tillmans. In an innovative online partnership with Flickr, the public were able to submit their own pictures from the street and the studio. A selection of these photographs was then displayed on a slideshow in the exhibition and also published in a book which was sold in Tate Shops.

The annual changes to the Collection displays, UBS Openings: Tate Modern Collection, also brought rooms dedicated to Gerhard Richter, Marlene Dumas and Hélio Oiticica, among others. The large-scale installation by Cornelia Parker, Thirty Pieces of Silver 1988–9, also went back on display and a major loan of a group of photographs by the Malian artist Seydou Keïta from the Contemporary African Art Collection, owned by Tate International Council member Jean Pigozzi, widened the range of art we display.

Tate Modern /Tate Modern’s greatest success is its ability to bring the most sophisticated and challenging modern and contemporary art into the lives of the general public. The trust that has been established between Tate Modern and its audience has enabled the gallery to present Collection displays and exhibitions that are rooted in rigorous scholarship, and frequently champion art and artists that are not widely known.

One example is the monographic exhibition mounted this year of the Brazilian artist Cildo Meireles. Although an established fi gure in the contemporary art world, the work of Meireles was largely unknown to the general public. And yet a combination of his mesmerising artworks and Tate Modern’s ability to bring an audience to new art and ideas meant that over 75,000 people came to see the show. Visitors enjoyed the richly sensory installations: walking ankle-deep in talcum powder in the gas-scented, candle-lit room of Volatile 1980–94 or navigating a maze of rulers and ticking clocks in Fontes 1992–2008. The exhibition also featured Eureka/Blindhotland 1970–5, an installation acquired by Tate in 2007.

Mark Rothko is a more familiar artist, but we were still delighted to welcome over 325,000 visitors to this year’s exhibition of the American Abstract Expressionist’s late works, which was sponsored by Fujitsu Services and Access Industries. The show provided a unique opportunity to see reunited for the fi rst, and perhaps last, time the nine Seagram murals that make up Tate’s ‘Rothko Room’, together with the Seagram paintings from the National Gallery of Art in Washington and the Kawamura Memorial Museum of Art in Japan. The exhibition also focused on other work in series, such as the Black-Form paintings and series of Black on Gray paintings created in the fi nal decade of his life.

Cy Twombly, the American artist long resident in Italy, had a career retrospective titled Cycles and Seasons, in which his magnifi cent Four Seasons 1993–5 from Tate and The Four Seasons 1993–4 from the Museum of Modern Art in New York were shown together for the fi rst time to stunning effect. One of the foremost painters in the world today, this was the largest and most thorough survey of

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Tate Liverpool /Tate Liverpool’s twentieth birthday year was its most successful ever, playing a leading role in the city’s celebrations as European Capital of Culture. In 2008–9 the gallery welcomed more than one million visitors for the fi rst time, confi rming its status as one of the most infl uential regional galleries in Europe.

Five years in the making, Gustav Klimt: Painting, Design and Modern Life in Vienna 1900 was Tate Liverpool’s exhibition of the year and its most successful to date, attracting 200,000 visitors. The exhibition showed Klimt’s work in a broad context, tracing his development and exploring his leading role in the Viennese Secession, a progressive group of artists and artisans whose work encompassed art, architecture, fashion and decorative objects. A highlight of the exhibition was a full-scale reconstruction of the Beethoven Frieze 1901–2, a monumental installation created for an exhibition in 1902 which is now permanently installed in the Secession building where it was originally presented in Vienna.

This was the fi rst major exhibition of Klimt ever held in the UK, and its success in Liverpool confi rmed that there is an audience for large-scale, ambitious exhibitions outside London. The show was so popular that opening hours had to be extended for the entire month of August to cope with the demand. Supplementing the exhibition was a rich public programme appealing to all ages which included curator-led tours, fi lm screenings and themed late-night openings. A multimedia tour of the exhibition was developed and made available for free download or at the gallery on Apple iPod touch devices. Retail sales related to the exhibition were among the most successful ever. The exhibition is estimated to have had a direct economic impact of at least £11.1 million on the local economy, in addition to a further £9 million in media coverage.

Tate Liverpool is both a champion of contemporary art and deeply rooted in the local community. As in previous years it played a central role in the fi fth Liverpool Biennial.

Tate Liverpool commissioned nineteen new works fromcontemporary artists including David Altmejd, Luisa Lambri and Rodney Graham which encompassed painting, sculpture, installation and drawing. One of the exhibiting artists was Omer Fast, who went on to win the Bucksbaum Award at the 2008 Whitney Biennial in New York. The Fifth Floor: Ideas Taking Space was an exhibition that offered the opportunity to refl ect on the transformation Liverpool has undergone in the past fi ve years, and to consider and propose alternative visions for the city’s future. Fourteen artists responded to ideas arising from discussions with local residents, with Paweł Althamer, Rineke Dijkstra, Nina Edge, Peter Liversidge and Paul Rooney all presenting new works or commissions. It’s not often that people are encouraged to draw on the walls of a gallery, but this exhibition included Romanian artist Dan Perjovschi who chalked his cartoon fi gures on the wall and invited visitors to do the same.

The Glenn Brown exhibition, which opened in February 2009, looked back over eighteen years of the artist’s career. A Turner Prize nominee in 2000, Brown is a painter whose inspiration comes as much from science fi ction as from recent art history and Rembrandt. Sought after by collectors, much of Brown’s work is rarely seen in public and this important mid-career retrospective was widely acclaimed by critics.

The most signifi cant display of the Tate Collection at Tate Liverpool, DLA Piper Series: The Twentieth Century, How it looked & how it felt, continued to captivate visitors. It included Auguste Rodin’s The Kiss 1901–4 in the gallery foyer, and continued in the galleries with Edgar Degas’s Little Dancer Aged Fourteen 1880–1, Pablo Picasso’s Weeping Woman 1937 and Andy Warhol’s Marilyn Diptych 1962. Also on display were major works by James Abbott McNeill Whistler, Pierre Bonnard, Henri Matisse, Piet Mondrian, René Magritte and others. And to top off an exceptional year, Tate Liverpool’s name was inscribed on Liverpool’s Freedom Roll of Association, in recognition of twenty years as a major cultural presence in the city.

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Tate St Ives /Tate St Ives’ distinctive setting in an artists’ community in Cornwall gives it a special perspective – both rural and international – which is refl ected in its programming of historic, modern and contemporary art.

St Ives draws on a rich lineage. Dawn of a Colony: Picturing the West, St Ives 1811–1888 presented the work of visitors to St Ives in the nineteenth century, particularly those who contributed to its early establishment as an artists’ colony of international renown, akin to Brittany. Beginning with JMW Turner’s visit in 1811, the exhibition traced the work of British artists including Edward Cooke, James Clarke Hook and Henry Moore, as well as international artists such as Marianne Stokes, Henry Harewood Robinson and Anders Zorn, who each sought and recorded the remote, natural beauty of the area. Drawing from international and private collections, Dawn of a Colony was the result of close collaboration with Penlee House Gallery and Museum in Penzance. Picking up where Tate’s exhibition ended, Penlee House hosted Dawn of a Colony: Lyrical Light, St Ives 1889–1914, which examined St Ives artists’ connections with the Newlyn School and the evolution of the colony in the two decades prior to the First World War.

Ben Nicholson, one the most radical artists of the twentieth century, lived in St Ives for nineteen years. His work is deeply rooted in the experience of the landscape and town, and his time in St Ives was one of his most productive. A Continuous Line: Ben Nicholson in England was the fi rst major exhibition of his work to be held in the UK since 1994. A multimedia walking tour connected spaces in and around St Ives to the work and life of the artist, and featured commentary alongside archival photographs, letters and artworks by Nicholson and his contemporaries. The exhibition itself invited visitors to trace the development of themes running

through Nicholson’s landscapes, abstracts and still-lifes, particularly in relation to national and local identities.

The theme of local identity played out strongly in Tate St Ives’ contemporary programme. With Adam Chodzko: Proxigean Tide the relationship between the gallery and local residents took on a particular intimacy. In Borrowed Cold Lodge, Chodzko fi lled the Heron Mall with 286 pieces of clothing, wet suits and uniforms lent by local residents, clubs and societies. The installation invited visitors to consider the people, groups, activities and occupations that contribute to establishing local identities and a sense of belonging. This mid-career exhibition was the fi rst selected survey of Chodzko’s work held in a public gallery. Met with critical acclaim, it was named as one of the most signifi cant solo shows of 2008 in Frieze magazine.

Heimo Zobernig and the Tate Collection also placed itself fi rmly within the fabric of Tate St Ives. In his fi rst UK exhibition, Zobernig’s work comprised a mix of sculpture, video, painting, installation and architectural intervention. In one piece, for example, a red chromakey curtain was installed to obscure the view of Porthmeor Beach, normally a focal point in the gallery. The exhibition also drew on a number of pieces in the Tate Collection, chosen by Zobernig and including works by Edgar Degas, Pablo Picasso, Marcel Duchamp and Henry Moore, to create a context for Zobernig’s own work.

Tate St Ives’ profi le in the UK and internationally is growing. Both Heimo Zobernig and the Tate Collection and A Continuous Line: Ben Nicholson in England were touring exhibitions and collaborations. Refl ecting the development of the gallery, the Ben Nicholson exhibition travelled to Abbott Hall, Cumbria and De La Warr Pavilion in Bexhill-on-Sea, and the Heimo Zobernig exhibition to the Calouste Gulbenkian Foundation’s Modern Art Centre in Lisbon.

Tate provides a platform for people to encounter art and to have experiences that are transformative and memorable. The way we hang the Collection, choose our special exhibitions, commission new works and put on live events is designed to provide a rich and varied experience for our audiences. The programme is augmented by interpretation, learning activities and special events that make art relevant to a whole range of people, adding to their enjoyment and understanding of the art they see at Tate. Ambition in the way we explain, animate and communicate art and our programme is central to our approach.

There is something for everyone. From the fi ve-year-old child enjoying making their own artwork with materials from Tate Britain’s Art Trolley, to the art academic attending a Tate Modern symposium, we provide texture and depth that meet audiences’ needs across a range of interests and levels of knowledge.

Adult programmes /More than any other group, the needs of our adult audiences are varied. So is the range of ways adults are able to engage with art at Tate. Building on this year’s Francis Bacon exhibition at Tate Britain, we hosted over fi fteen events for adults, ranging from panel discussions with eminent architects to curator-led talks. A symposium and study days deepened understanding through the examination of Bacon’s artworks, as well as letters, photographs and other material from Tate’s Archive. At Tate St Ives, an international conference attended by local audiences, academics and art professionals explored themes in the Dawn of a Colony: Picturing the West, St Ives 1811–1888 exhibition.

In collaboration with Apple, a downloadable tour of Tate Liverpool’s Gustav Klimt exhibition was developed and tested this year. It was the fi rst self-produced multimedia

46

AudiencesLearning

tour of its kind. Enriched with photographs, music, interviews and behind-the-scenes footage of the exhibition being put together, it offered valuable insights into Klimt’s art, his life and times. Visitors could download the tour free of charge to their own devices before their visit, or they could hire an iPod touch at the gallery. We plan to build on this successful pilot in the future.

A regular programme of events – often led by practising artists – provided adults with routes to discover Tate’s Collection through discussion, life drawing, poetry and philosophy. In February for example, as part of Tate Britain’s new cross-cultural Conversation Pieces series of events, the sculptor Susan Stockwell explored how ideas in her own work such as trade, mapping and recycling are relevant to many key works on display at Tate Britain.

In addition to illuminating the Collection and exhibitions, a strand of our adult programme is aimed at those with an interest in museum practice and the role museums play in society. Attracting regular gallery visitors, curators, academics and artists, a two-day conference held at Tate Modern, Landmark Exhibitions, presented the history of contemporary art exhibitions. Events such as the Magical Mysterious Regeneration Tour, which included artist-led tours of regeneration sites in and around Liverpool, also invited dialogue and debate around issues like culture and urban regeneration.

Live events /Special events at each of Tate’s galleries have proved to be a great way to attract new visitors. UBS Openings: The Long Weekend gave Tate Modern a festival-like feel with activities, events and art commissions for everyone from families to the experienced gallery goer. This year the event was based on the Fluxus art movement of the 1960s and 1970s, and more than 90,000 people visited over just three days. During the same period, the Street Art exhibition, sponsored by Nissan, used the north façade of Tate Modern to present works by six leading international street artists. The exhibition was literally extended ‘beyond the walls’ by an accompanying walking tour, which signposted further street art commissions in the Southwark neighbourhood, placed in collaboration with the local council and community. Tate Britain ran a series of exciting events including bands and DJs, contortionist life drawing and fashion design in conjunction with its BP Saturdays programme. Another popular success was Tate Liverpool’s Twentieth Birthday Party, when we welcomed over 17,000 family visitors to the gallery in one weekend.

The pressures of modern living mean we also need to be more flexible with our opening hours. All Tate’s galleries now offer a line-up of popular late-night openings. Many of these, such as Late at Tate at Tate Britain and Tate Liverpool, are specially programmed each month, and Tate Modern remains open until 22.00 every Friday and Saturday.

48

Audiences / Learning

Families and children /Art museums are a rich source of inspiration for young children and our programmes exemplify best practice in creative learning.

The fi rst time many children visit Tate is as part of a school group and – in London alone – well over 200,000 school children visited us this way last year. For teachers, we offer a highly regarded professional development programme, Tate Teachers, in all our galleries. We also provide a wide range of resources to help teachers plan a visit or lesson. Enhancing and extending the National Curriculum, the resources go beyond art and design, making links with such areas as language, history and citizenship.

Tate is a place where children and families can feel welcome. At Tate Modern, a record 47,500 people attended our family programme this year – 34% more than last year. Start, a weekend and holiday programme at Tate Modern sponsored by UBS, is designed to engage family groups with artworks through games, encouraging active learning and participation. Tate Britain’s Early Years programme, sponsored by Tate & Lyle, brought together a range of local and schools programmes, in addition to the ever-popular Art Trolley, which is available every weekend and during school holidays throughout the year. At Tate St Ives, the Super Sundays programme attracted large crowds with monthly events for families, and HiART – a partnership between Tate St Ives, Barnardo’s and Penwith Family Services – also helped Tate to reach families in rural areas of Cornwall and those with disabled children.

Working with partners to broaden our impact, Tate’s outreach programmes build relationships with schools and provide experiences that nurture children’s interest in art and creativity. In Liverpool, we joined a collaborative consortium of organisations piloting Find Your Talent, the Government initiative which aims to involve children in at least fi ve hours of cultural activity each week. VerbalEyes,

an outreach programme at Tate Britain, gives children the opportunity to explore art and language with contemporary artists, using Tate’s Collection. This year, over 400 children from seven primary schools in the London boroughs of Newham, Greenwich and Westminster took part in this ground-breaking project, which culminated in the creation of collaborative artworks. The fi nal pieces from each school were shown in a special exhibition at Tate Britain, which was launched at a celebratory Family Day in June.

This year we also took steps to make our facilities more family-friendly. All our cafés and restaurants already offer a broad range of fresh, seasonal and locally sourced food, but we added to this by introducing healthy snacks as well as free meals for kids when an adult orders two courses. We know that children and adults alike want to talk about the art they have seen over lunch, or to buy books or other resources that shed more light on the subjects they have encountered. The teams that run our restaurants and cafés, shops and publishing therefore dedicate their efforts to ensuring visitors will always be able to fi nd the right thing, at the right time.

Young people /Encouraging creativity, exchanging ideas through collaboration and participation, and taking a global perspective are important aspects of how we engage with young people at Tate.

We want to help unlock the creative talent in young people. Visual arts not only assist in developing creativity, but also contribute to aptitudes for critical refl ection, communication and confi dence. This year Tate Modern hosted a major conference attended by more than 500 young people from across England. In the eighteen months prior to the conference – a collaboration with Creative Partnerships – over 3,000 students across the UK took part in online discussions, live conversations, video links and debates.

The conference was the fi rst of its kind and 11–19 year-olds presented a ‘Manifesto for a Creative Britain’ outlining what they need to be creative and succeed. The Culture Secretary, Andy Burnham MP, attended the conference and responded to the students’ views.

Collaboration is an essential part of our work with young people. The Street Geniuses programme is run by the South Bank and Bankside Cultural Quarter, a consortium of 22 arts and culture organisations along the south of the river Thames. Together with Street Geniuses, Quicksilver, a dance project organised by contemporary dance companies The Cholmondeleys and The Featherstonehaughs, worked with 30 young people from local schools to create works performed in Tate Modern. Another collaborative success is Tate’s Visual Dialogues partnership, which has built on fi ve years’ experience to steadily increase its impact nationally. The programme encourages young people aged 16–18 to work with artists and gallery staff to share their ideas on how to present the Collection at Tate as well as in partner galleries in Birmingham, Manchester, Newcastle and Sheffi eld.

Taking an international perspective is as intrinsic to our work with young people as it is to our Collection and programme. Working with groups from Finland, France and Spain, the four-month Youth Art Interchange project, organised through the British Council’s Youth in Action programme, took place at all Tate’s galleries. The project concluded with a weekend of events at Tate Liverpool where over 100 young people took part. Another partnership with the British Council, Nahnou-Together, involves cultural exchange between students, teachers, artists and curators from the UK, Jordan and Syria. A display at Tate Britain in the summer presented the last two years’ work, paving the way for Illuminating Cultures, an ongoing programme exploring the development of modern art between the Middle East and Europe. The Unilever Series: turbinegeneration, which we launched this year, is the world’s fi rst online partnership linking schools and major galleries internationally. Aiming to enhance students’ understanding of the world by encouraging cross-cultural collaboration through contemporary art, it already links schools and galleries in the UK, Colombia, Greece, China and Russia. We plan to expand this exciting network to over 30 countries by 2012–13.

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Audiences / Learning

Visitor fi gures / April 2008 – March 2009

Visitors to the galleries

Tate Britain 1,587,655

Tate Modern 4,647,881

Tate Liverpool 1,035,958

Tate St Ives 203,700

Total 7,475,194

Onsite learners

People participating in learning programmes and activities at Tate galleries

Tate Britain 397,657

Tate Modern 329,793

Tate Liverpool 63,035

Tate St Ives 14,122

Total 804,607

Outreach participants

People participating in off-site learning programmes and activities

Tate Britain 87,633

Tate Modern 32,305


Tate St Ives 3,332

Total 128,069

Children in organised education sessions

Tate Britain 128,787

Tate Modern 121,658


Tate St Ives 12,304

Total 279,831

Unique visits to Tate Online

Total 18,494,657

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AudiencesBeyond Tate

Through our online and media initiatives, publishing, touring and lending, Tate reaches national and international audiences far beyond the confi nes of the gallery walls.

Online, media and publishing /Having grown rapidly in the past fi ve years, Tate Online is now the leading museum website in the UK. With over 1.8 million unique visitors per month by March 2009, the website is Tate’s fi fth venue where national and international visitors can engage with Tate’s Collection, programmes and resources. All major exhibitions are now supported by in-depth microsites. This year’s highlight was the Francis Bacon microsite. Packed with a wealth of content that was of equal interest to those not able to visit the exhibition, it included extensive audio and video content from the BBC’s archive – much of it previously unseen – as well as a virtual room-by-room tour and background information on Bacon and the context of his work. Extracts were also shown on the BBC’s website, opening up access to millions of new viewers internationally.

Increasingly Tate Online is a platform for discussion and exchange with and among our audiences. Last year we relaunched the Tate Kids section of the website, which is aimed at 6–12 year-olds. A model of how we seek to develop dialogues online, Tate Kids is highly interactive and community-based. Children can create their own artworks and galleries and share them with other users. The site also features a series of short fi lms, Art Sparks, by the BAFTA-nominated animators The Brothers McLeod. The Tate Kids site won a Webby – against strong contenders such as MTV, Marvel and National Geographic. It was also named Best Educational Website at the 2009 Museums and the Web international awards. Signifi cant progress was made this year in developing new content on the web for young people and art and museum professionals, as well as areas devoted to JMW Turner and the Tate Collection.

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Audiences / Beyond Tate

Tate’s online presence isn’t limited to our own website: we also work with partners to reach broader audiences online. Tate is the fi rst cultural partner in the UK to join forces with Google for Google Maps Street View. A selection of Britain’s most iconic and historically signifi cant paintings from the Collection have been integrated into Google Maps and visitors can, for example, compare today’s view of Westminster with JMW Turner’s depiction of the Houses of Parliament on fi re in 1834. This pioneering initiative provides a new context for works from Tate’s Collection, and highlights changes in Britain’s urban and rural spaces over time.

The in-house production of media content – made possible by the richness of the Collection, our imaginative programme and strong relationships with artists – is growing in importance. This year we expanded TateShots, the monthly series of short fi lms produced for our website sponsored by Bloomberg. In a New York special, we visited the studios of a number of artists working in the city, including Jeff Koons, Jim Dine, Marina Abramovic and Cory Arcangel. TateShots footage of artists talking about art will be a rich seam of content that we can reuse in future. At the end of the year, we took steps to expand the availability of hundreds of our video and audio downloads, which are now available for free on Apple’s iTunes U, an area of the iTunes Store featuring educational content.

Within one week of launching, international audiences had viewed Tate fi lms over 49,000 times.

Another signifi cant development this year was the production of Tate’s fi rst feature-length fi lm for television broadcast. Directed by BAFTA-winning fi lmmaker Gerald Fox, the fi lm showed the Brazilian artist Cildo Meireles working in his studio on some of the works which were presented at Tate Modern in the autumn. The fi lm was broadcast on ITV’s South Bank Show, and was also screened at Tate Modern in December. Building on the Turner Prize 3 Minute Wonders produced for Channel 4 last year, we were asked to make a new series of programmes for the channel, broadcast at peak times on weekday evenings after the news.

Tate Publishing is another way we reach audiences, academics and young people throughout the world. An unprecedented 20,000 Francis Bacon exhibition catalogues were sold outside the UK alone last year, and almost as many JMW Turner tour catalogues were sold in the US. Publications in our core areas of British art and international modern art – such as the acclaimed three-volume The History of British Art, edited by David Bindman, Tim Ayers and Chris Stephens, and Red Star Over Russia by David King – complemented our range of publications supporting Tate’s exhibitions and tours.

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project encourages people to join in debate about what British art has to say about our lives today. Led by Tyne & Wear Archives & Museums with Tate, Museums Sheffi eld, Norfolk Museums and Archaeology Service and Iniva, the fi rst exhibition with works from Tate’s Collection opened at Sheffi eld’s Graves Gallery in February. The opinions and ideas we receive from the public will help shape displays, exhibitions and events to be held all over the country in the run-up to the London Olympics in 2012.

Tate lent a record number of works from the Collection this year. We shared the Collection with 117 UK venues, twice the number we lent to ten years ago. Prompted by Tate’s acquisition – with Heritage Lottery Fund, Art Fund and Tate Members support – of Richard Parkes Bonington’s French Coast with Fishermen c1825, a collaborative exhibition was conceived with Nottingham Castle Museum and Art Gallery. The painting by Nottingham-born Bonington was the highlight of the exhibition, which also featured works by JMW Turner from Tate’s Collection.

The ARTIST ROOMS tours have also taken Tate’s national lending and touring activities to a new level. Following the gift by Anthony d’Offay to Tate and National Galleries of Scotland, an extensive series of exhibitions was organised in collaboration with galleries up and down the country. In 2009–10, this important body of work will be shown in eighteen venues across England, Scotland, Wales and Northern Ireland, including Tate and National Galleries of Scotland.

Sharing with the nation /Tate is a resource for the whole nation. Central to our aim to increase understanding and enjoyment of art across the UK are Tate’s four galleries and a growing network of partnerships and exchanges.

Tate Connects became active this year as the new cornerstone of Tate’s national activities. Supported by Arts Council England, Tate Connects is not a conventional UK museums partnership scheme, but a permeable network that aims to support the visual arts across the UK and to bring about change through exchange and collaboration. The principles behind the network are to share ideas and expertise and to increase public participation in the UK’s visual arts.

This year we established ten founding Tate Connects partners and plan to recruit a further fi ve during 2009. Some of these galleries have collections, some of them are new organisations – but they all have a strong vision, an emphasis on contemporary art, a commitment to supporting artists and a desire to expand audiences for the visual arts. And, like Tate, they are all going through changes, many of them involving the creation of new or refurbished buildings. Tate Connects partners have special access to the Tate Collection and participate in a range of activities, including staff exchanges and secondments.

Tate Connects is also participating in a number of collaborative projects. In 2008, the fi rst major initiative – the Great British Art Debate – was launched. This four-year

Tate Connects partners /Baltic, Gateshead Firstsite, Colchester The Hepworth, Wakefi eldIkon, BirminghamKettle’s Yard, Cambridgemima, Middlesbrough The Exchange, PenzanceNottingham Contemporary, Nottingham Towner, EastbourneTurner Contemporary, Margate

ARTIST ROOMS associates /Aberdeen Art GalleryDe La Warr Pavilion, Bexhill-on-SeaFirstsite, ColchesterGraves Gallery, Museums Sheffi eld Inverness Museum and Art Gallery The Lightbox, Woking mima, Middlesbrough National Museum Cardiff The New Art Gallery Walsall The Pier Arts Centre, Stromness, OrkneyTramway, GlasgowUlster Museum, National Museums Northern IrelandWolverhampton Art Gallery

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Sharing with the world /A growing number of international collaborations, exhibitions and loans has enabled Tate to extend its global reach and perspective. New partnerships in the Middle East and the Asia-Pacifi c region have provided fresh opportunities for cultural dialogue and idea sharing.

Tate’s participation in the World Collections Programme, launched in 2008 with funding from the Department for Culture, Media and Sport, is helping us develop links with the Middle East. Bringing together Tate, the British Museum, the Victoria and Albert Museum, the British Library, the Natural History Museum and the Royal Botanic Gardens at Kew, the Programme aims to share knowledge and practice with museums abroad. In January 2009, in partnership with the International Curators’ Forum and the online magazine Nafas, a major symposium entitled Contemporary Art in the Middle East was held on consecutive days at Tate Britain and Tate Modern. The symposium examined how the Middle East is defi ned, how interpretation affects understanding of art at home and abroad, and the potential impact of new and emerging spaces for showing modern and contemporary art in the region. Following the symposium, a fi ve-day workshop was also held in Sharjah, United Arab Emirates, for emerging curators. Organised by Tate in partnership with the Sharjah Biennial and the International Curators’ Forum, the workshop brought together curators from across the Middle East and the UK.

New venues for exhibition tours and loans also broadened Tate’s international reach, bringing British art to audiences beyond the well-travelled routes. After visiting Washington DC, Dallas and New York, JMW Turner continued on to the Pushkin Museum of Fine Arts in Moscow and the National Art Museum of China (NAMOC)

in Beijing. The exhibition comprised 40 oil paintings and 70 works on paper including Norham Castle, Sunrise c1845, Self-Portrait c1799 and The Burning of the Houses of Parliament 1834–5. It was the fi rst time a substantial number of Turner’s works had been on view in Moscow in a generation. The result of a partnership between Tate, the Pushkin, the Art and Sport Foundation (Moscow) and the British Council, the show was named ‘exhibition of the year’ by Russian critics. An article in The Times stated that, ‘Political relations between Britain and Russia may still be in the deep freeze, but when it comes to culture the countries appear not to have noticed anything amiss’. The tour to Beijing was achieved through a partnership between Tate, the British Council and the NAMOC.

After travelling to the USA, Tate Britain’s The Lure of the East: British Orientalist Painting was the fi rst Tate exhibition ever to tour the Middle East. With stops at the Pera Museum in Istanbul and the Sharjah Art Museum, the tour reinforced Tate’s commitment to bridging cultures by setting up a platform for new international dialogues. After touring to the Van Gogh Museum in Amsterdam, the Millais exhibition went on to two venues in Japan: the Kitakyushu Museum of Art and the Bunkamura Museum in Tokyo. Turner Prize: A Retrospective also travelled to Tokyo’s Mori Museum of Art, and Rothko travelled to the Kawamura Memorial Museum of Art in Sakura City.

These are just a selection of more than twenty exhibitions which toured to over 35 locations worldwide. In addition to Tate’s touring exhibitions, a total of 1,031 artworks were loaned this year, making Tate’s Collection available to audiences in a record 144 international venues.

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Improving the Organisation

Developing staff /Adrian Hardwicke began his career at Tate in 1991 in a holiday job that left him shivering in a small wooden cabin outside the gallery providing information to people attending the blockbuster Constable show. Seventeen years later, Adrian became one of our directors. In the intervening years he held the following posts: Information Assistant, Press Assistant, Assistant Press Officer, Press Officer, Project Officer for the Development of Tate Modern, Front of House Manager at Tate Modern, Head of Visitor Services at Tate Modern, Head of Visitor Services and Operations at Tate Modern, and then in September 2008, Director of Visitor Services and Estates.

What is remarkable about Adrian’s story is that it is not remarkable. Andrea Nixon, now Executive Director at Tate Liverpool, Sheena Wagstaff, Chief Curator at Tate Modern and Kate Sloss, our new Director of Collection Care have all been able to develop their careers to a senior level from within Tate. It is our policy to nurture the extraordinary talents of the approximately 1,200 individuals who work directly and indirectly for Tate and to help them fulfil their professional potential. Of course there are times when individuals have to leave Tate to develop their career. This was the case with Vilma Nikolaidou who left her position as an advisor in the Human Resources department to take up a more senior role at Arts Council England. But three years later, in February of this year, we were delighted to welcome Vilma back as the manager of the Human Resources department.

Our commitment to investing in and supporting our staff continues, as does the determination to improve Tate's training provision to reflect individual needs and changing organisational priorities. Tate’s learning and development programmes respond to future needs, building skills and expertise to support our development. Over the past year we have run a full and varied training programme, ranging from lunch-hour ‘Learning Bite’ sessions to longer courses, as well as evening language classes, outside placements, exchanges and internships. At Tate Modern, staff in the Visitor Services teams completed their Level 3 National Vocational Qualifications (NVQ) in Cultural Heritage last year – the first time this course has been undertaken at Tate. We also took part in the Clore Leadership Programme’s short courses offering intensive, two-week residential

programmes designed for emerging leaders in cultural institutions. For senior staff, we expanded our successful coaching programme, and took steps towards improved succession planning to ensure a steady stream of talent in key areas.

Internship and placement opportunities play an important role in Tate’s efforts to develop skills in the arts sector. Tate’s Conservation department is particularly active in hosting internships each year. Funded by John Schaeffer and Lady Angela Nevill, the innovative Schaeffer-Nevill-Keating post is a two-year secondment for a staff member which allows them to develop expertise by working on a specialised conservation project. This conservator was replaced with an intern who gained experience in the loans section of the painting conservation team. Other internships have been held in sculpture, time-based media and framing conservation, and in areas such as Learning, Marketing and the Director’s Office.

Tate for All /We have made significant progress in establishing our Tate for All diversity strategy across all of our activities. It is essential that the make-up of our staff reflects a wide range of experiences, backgrounds and opinions so we can bring broader perspectives to our Collection and programme. This year we hosted five ‘Peach’ placements, a strand of the government-funded Cultural Leadership Programme aiming to create a strong leadership culture and enhance the diversity of current and future leaders in the sector. These six-month placements allow people at mid-career levels to work on projects that develop their skills. This year’s Peach placements led projects ranging from Tate’s internship programme through to improving the sustainability of our operations.

Tate Liverpool led a consortium of local cultural organisations in setting up a training scheme for 16–24 year-olds. Creative Apprenticeships, part of a national scheme, is designed to open doors to careers in the creative and cultural sectors, and to increase diversity. The programme gave ten young people from Merseyside paid training at some of Liverpool’s major arts organisations including two at Tate. Tate Liverpool is also leading a pilot of the government’s Find Your Talent programme, which will broaden awareness of the arts through promoting five hours of culture for children per week.

62


Funders and supporters /Tate relies on a wide variety of funding sources. Government funding is critical, but only accounts for 38% of our income. We generate the other 62% ourselves. Maintaining this level of income from individual, foundation and corporate supporters, together with our visitors, Members and Patrons is fundamental to the delivery of our public programme.

Public funding and foundation support /In 2008–9, Tate raised over £1 million for research from a range of sources including the Arts and Humanities Research Council, Public Sector Research Exploitation Fund, Andrew W Mellon Foundation and the European Union. This large sum reflects the progress we have made in developing and focusing our research efforts. We also received support for our regional and national activities. Tate Liverpool’s important role in the city’s European Capital of Culture year led to the gallery receiving funding from Liverpool City Council, the Northwest Regional Development Agency, the Esmée Fairbairn Foundation and Arts Council England. The John Lyon’s Charity and the 29th May 1961 Charitable Trust also offered three-year pledges of support towards learning programmes at Tate Britain and Tate Modern that will allow us to extend learning activities for diverse audiences.

Corporate partners /Like many others, Tate has felt the impact of the turbulent economic conditions affecting the global economy during this period. But the deep and lasting relationships we have developed over many years with our corporate supporters meant that we were able to retain many of our most significant partnerships.

At Tate Modern, UBS’s sponsorship of UBS Openings has helped to bring the Tate Collection and supporting events to new and varied audiences. Interpretation at Tate Modern and our popular TateShots online film series are both supported by Bloomberg, while Unilever’s sponsorship of the annual artist commission in the Turbine Hall has been renewed for a further four years. Tate Modern’s exhibition programme also enjoyed considerable support with Fujitsu Services and Access Industries sponsoring Rothko and Nissan sponsoring the Street Art exhibition.

BP has been a long-term supporter of Tate Britain’s Collection displays, along with BP Saturdays for families and young people, and the BP British Art Lectures and Artist Talks. The Duveens Commission is now supported by Sotheby’s, enabling it to become an annual commission which, in 2009, is in its second year. Tate & Lyle continued its support of the VerbalEyes schools outreach project and the Art Trolley. In the autumn, Tate Britain’s Francis Bacon exhibition was sponsored by Bank of America.

DLA Piper continued its long-standing support of the Collection displays at Tate Liverpool, which will be refreshed again in 2009. Tate was also pleased to welcome three new corporate members this year: Hanjin Shipping Company, Investec Asset Management and RWE npower.

Individual Members, Patrons and donors /The significant financial contribution made by individuals is a vital source of income that enables Tate to present its varied programme and add important works to the Collection.

We were delighted that despite the difficult economic climate, memberships rose to a record 95,000. Tate Members made a significant contribution towards the acquisition of Peter Paul Rubens’s The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall c1628–30 as well as supporting the acquisition of works by artists such as Runa Islam, Mark Wallinger and Tacita Dean.

The committed support of the Tate Patrons for Tate’s Collection, exhibitions and conservation is as strong as ever. Income from Patron support grew to more than £900,000 this year, allowing us to acquire important works from artists including David Batchelor and Gerald Leslie Brockhurst. Continuing their long-standing association with the Turner Prize, the Tate Patrons also generously supported the 2008 Prize and exhibition.

With 24 countries represented in its membership, the International Council continues to expand. Tate is dedicated to representing artists from around the world, and our


64

Acquisitions Committees provide important support for this. In the past year these groups of supporters helped bring into the Collection works by important Japanese, American and Latin-American artists. The American Patrons of Tate also continued to support our collection of North American and Latin American art, providing gifts of more than $1.5 million over the year.

Building on our recent successes in engaging individual donors to support Tate’s programme, Exhibition Supporters Groups were established for Cy Twombly, Cildo Meireles and Peter Doig, providing significant support for these important exhibitions of work by living artists.

Tate also received over £4 million in legacies this year including substantial bequests from Gwenan Rees Jones and Paul Millwood. The earlier major legacy of Nicholas Themans also enabled Tate to purchase two further works.

Trading activities /Tate Enterprises is responsible for the majority of Tate’s commercial activities, including the running of our publishing, retail and catering operations. These activities add to visitors’ enjoyment of the galleries and their understanding of art, and also help raise the funds we need to run the galleries. Over the last decade the team leading Tate Enterprises has built a thriving concern by mixing entrepreneurial flair, sound business practice and a passion for customer service, combined with sensitivity to the art and artists they work with. This approach has ensured that Tate Enterprises has been able to make a significant contribution to Tate’s running costs each year. This year they achieved the best financial results in their history, resulting in a contribution to Tate of £3.8 million.

We are working in partnership with the Carbon Trust to benchmark Tate’s carbon footprint, enabling us to identify a standard from which to work, with resulting actions for the coming years. We are committing to reducing our energy use and waste and are also looking for opportunities to share best practice with the museum sector. For instance, there is potential to reduce the environmental impact of core activities such as exhibitions, art transportation and events, and we have started to work with curators, artists and suppliers to achieve this. We have also been looking to move sustainability into new areas of practice. This includes building construction, and planned innovations in using heat generated by the EDF Energy electricity plant at Tate Modern to power the new, transformed Tate Modern.

We are already busy putting our green plans into action. Over the last year we have reduced landfill waste from Tate Britain by 17%, and were delighted to be awarded the Carbon Trust Standard in recognition of the carbon savings we have made. We also became an early member of the Mayor of London’s Green500 group – a consortium of major London organisations who formally commit to reducing their carbon emissions. Green Champions, Tate’s programme encouraging sustainability at a grass-roots level across the organisation, was launched in May 2008. Our Green Champions are individual volunteers in every department, working to instigate environmental changes and share best practice with their colleagues. One of the initiatives has involved the introduction of a new lighting control system at Tate Britain, which has cut down on unnecessary lighting outside gallery opening hours and is estimated to have increased efficiency in this area by 32%.

Operational efficiency /Tate runs four galleries, cares for the national collection of British and modern art, lends over 1,000 objects annually and welcomes millions of visitors each year. We are able to operate on the scale we do because of the professionalism and dedication of our staff and their remarkable productivity. Whether we are generating income or investing in our activities, we work hard to derive maximum public benefit from our actions.

As a way of improving the efficiency of Tate’s operations we took out a long lease on approximately 55,500 sq ft of underground bunker accommodation at Dean Hill Park, Salisbury, for storing parts of our Collection. The new facility provides a stable environment for housing the Collection, and is much more cost effective than using commercial storage facilities in London. Other moves to improve efficiency and productivity have included the upgrade of Tate’s IT systems and infrastructure to improve the speed of the network between Tate’s sites, and planning for further digitisation of Tate’s Collection and Archive.

Sustainable practices /We want to become a leader in museum sustainability; to use the opportunities provided by our capital plans to test and develop the latest sustainable methodologies and working practices, which can then be shared with colleagues across the world. Our approach to sustainability was reviewed by the Trustees in September, and then was incorporated into Tate’s operational plans. Sustainability will be a prime consideration throughout all of Tate’s work, from the way we source food for the catering services in our galleries to the way we manage buildings and arrange transportation.

Future Developments

66

Tate’s capital plans respond to the pressures created by success and our ambition to broaden audiences, build and show a truly international Collection and enhance our visitors’ experience through learning and participation. To achieve this we need to create new and different spaces.

Transforming Tate Modern /In late March 2009, we were granted planning permission on a revised plan to develop Tate Modern. Herzog & de Meuron, the architects of the original conversion from a power station to a museum, have designed a dramatic new building on the south-west side of the gallery which combines cutting-edge museum design with enhanced sustainability. The three enormous subterranean oil tanks that once housed the fuel that powered London will form the foundations of a new building, which will rise up to 65 metres on eleven levels. The new Tate Modern will increase the gallery’s display space capacity by 60% and add a range of spaces for learning and social uses, enabling us to display new and emerging art forms in appropriate ways.

Tate Modern urgently needs this extra space. The gallery was designed for two million visitors a year, but we consistently welcome around five million visitors, putting pressure on the galleries and services. The transformation will allow us to provide exciting and challenging experiences for our visitors, and give them the opportunity to participate more fully in the activities of Tate Modern. Just as crucially, Tate Modern’s place in the community will be enhanced. New routes and public spaces will open up the gallery to the south, welcoming people in, contributing to local regeneration and further integrating the gallery into its neighbourhood.

When it is completed, the transformed Tate Modern will provide London with a new cultural landmark, while setting new standards in sustainability and bringing international modern and contemporary art to an even wider audience than ever before.

Transforming Tate Britain: Phase 1 /The Tate Gallery opened on Millbank in 1897. Over the past 110 years it has undergone a number of expansions and renovations. Now, as Tate Britain, a new development plan is underway: the first phase of Transforming Tate Britain.

Like Tate Modern, the new Tate Britain will make better use of its space, offer much improved visitor services and meet the increasing demand for learning opportunities. It will put Tate Britain in a strong position to expand its work and attract new audiences. In Phase 1, gallery space in the South East Quadrant will be refurbished to make it watertight, improving environmental conditions so that we can expand the range of art on display. A new stair in the Rotunda will link the three floors of the building and the project includes a new café, reception area and information hub. The upper level of the building will be returned to public use through a new Members Room, and a new River Room will be made available for seminars and corporate events. Learning facilities will also be improved through the creation of new studios integrated into the gallery spaces. In the longer-term second and third phases, galleries in the South West Quadrant will be refurbished, and a new extension will be built on the site of the Clore Car Park to the north.

Transforming Tate Britain is a complex development plan, with the initial phase scheduled to be completed by 2013. To date, half of the funds have been raised towards Phase 1, including a major gift from the Manton Foundation.

Tate St Ives: Phase 2 /Tate St Ives has continued to work closely with its local community on plans to develop the gallery. After extensive consultations, new proposals are in place for the future of Tate St Ives. In partnership with Penwith Housing Association, the plan is to rebuild, improve and increase the number of sheltered housing units adjacent to the gallery. This will release land for additional gallery space, learning facilities, staff support areas and art handling. Tate St Ives is now working with Cornwall County Council and Penwith Housing Association to secure funding for this project, as a first step towards redeveloping the land for the gallery.

68

Financial ReviewD

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Tate is funded by Grant-in-Aid from Parliament, provided through the Department for Culture, Media and Sport. Tate supplements this grant through other sources, including trading, admissions, donations and sponsorship. Tate continues to generate more than 60% of general income year-on-year from sources other than Grant-in-Aid.

These financial statements are summarised from the full audited accounts which can be accessed at www.tate.org.uk Tate has followed the Statement of Recommended Practice (SORP), Accounting and Reporting for Charities.

*Excludes income associated with capital expenditure and collections

Self-generated incomeIncome / £200.2mThe exhibition programme at Tate has a direct impact on income each year. In 2008–9 exhibitions included Gustav Klimt at Tate Liverpool, Rothko and Cy Twombly at Tate Modern, and Francis Bacon at Tate Britain, resulting in high levels of trading and admission income. As shown here, income is allocated to both annual operating expenditure and capital expenditure.

To fund operational activities in 2008–9, Tate generated over 60% of its income from sources other than Grant-in-Aid. In the past five years Tate has increased self-generated income by 39% compared to a 14% increase in Grant-in-Aid over the same period. The graph below demonstrates how self-generated income has increased over the last five years.

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Operating expenditure / £87.4m Capital expenditure / £112.9mThe 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; education and outreach; fundraising and publicity; and trading, governance and support costs.

Over the past year we have added works of art valued at £96.7m to the Collection. Of this figure, £64m has been donated by individuals either directly or in lieu of tax. Donated works of art include the donated element of the ARTIST ROOMS collection which was acquired in June 2008 under a part gift/part sale at cost agreement. The collection is jointly owned by Tate and National Galleries of Scotland and the donated element included in Tate’s accounts represents 50% of the total donated element. Funding for the sale at cost element of the acquisition was provided by the National Heritage Memorial Fund, The Art Fund and the Scottish and UK Governments. Donated works of art also include Bigger Trees Near Warter 2007 donated by David Hockney and Dew-Drenched Furze 1889–90 donated by Sir Geoffroy Millais. Funding for purchased works of art has come from many sources including the National Heritage Memorial Fund, The Art Fund, the Henry Moore Foundation, Tate Members, Tate Patrons and self-generated income. We have invested a total of £16.2m in our buildings and equipment, including essential major repairs, and in design and planning work for further developments at Tate Modern and Tate Britain.

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70

Financial Review

Statement of Financial Activities

Income

Donated works of art

This is the value of works of art that have been donated to Tate in the past year.

Other voluntary income

Includes donations to Tate such as Heritage Lottery Fund, grants, money from The Art Fund and any other donations or grants used on the purchase of works of art or on capital building projects. Voluntary income also includes Tate Members income and donations from individuals and trusts as well as legacies.

Trading income

Income associated with Tate Enterprises Ltd trading including catering, retail and publishing income.

Other activities for generating funds

This income includes sponsorship for exhibitions, projects and corporate events.

Investment income

Income generated on cash balances and investments, including the Tate Modern lease deposit.

Grant-in-Aid

Tate is funded by Grant-in-Aid from Parliament, provided through the Department for Culture, Media and Sport.

Other income from charitable activities

Admission income to exhibitions, general admission income to Tate St Ives, touring exhibition income and income from events and courses.

Other income

Primarily income for services provided to others.

Expenditure

Costs of generating voluntary income / costs of generating funds

Tate’s fundraising operation.

Trading costs

Costs associated with Tate Enterprises Ltd trading including catering, retail and publishing costs.

Charitable activities: public programme

Costs associated with undertaking our core charitable mission (eg the display of art, education and all associated costs) are charitable activities.

Charitable activities: support costs

Costs associated with supporting the above, such as caring for the Collection.

Governance costs

Comprises the cost of staff involved in governance as well as the annual audit fees.

Analysed between Income, Expenditure, Buildings and Collections.

Consolidated Statement of Financial Activity

For the year ended 31 March 2009 General Buildings Works of art Endowments Total funds Total funds 2008 –9 2008 –9 2008 –9 2008–9 2008 –9 2007 –8Incoming resources £000 £000 £000 £000 £000 £000

Donated works of art / / 64,017 / 64,017 63,132

Other voluntary income(includes donations and public-sector grants) 8,193 5,256 12,563 1,025 27,037 16,892

Trading income 27,638 415 1,333 / 29,386 26,511

Other activities for generating funds(includes sponsorship and events income) 6,216 / / / 6,216 5,646

Investment income 870 7,147 588 / 8,605 9,118

Grant-in-Aid 32,534 14,250 7,170 / 53,954 45,929

Other income from charitable activities 10,310 78 / / 10,388 8,253

Other income 636 / / / 636 598

Total incoming resources 86,397 27,146 85,671 1,025 200,239 176,079

Resources expended

Costs of generating voluntary income(eg donations) 2,538 76 / / 2,614 3,381

Trading costs 26,926 350 / / 27,276 23,986

Other costs of generating funds(eg costs of general sponsorship) 2,743 52 / / 2,795 2,547

Investment management costs 16 / 31 / 47 43

Charitable activities: public programme 38,903 13,419 / / 52,322 40,924

Charitable activities: support costs 15,012 8,540 / / 23,552 23,044

Governance costs 658 2 / / 660 604

Other costs 636 / / / 636 597

Total resources expended 87,432 22,439 31 / 109,902 95,126

Net incoming resources before transfers (1,035) 4,707 85,640 1,025 90,337 80,953

Transfer between funds 1,275 (766) (509) / / /

Net incoming resources after transfers 240 3,941 85,131 1,025 90,337 80,953

Gain/(loss) on investment assets (18) / (2,379) (559) (2,956) 15

Gain/(loss) on revaluation of tangible fi xed assets / 141,784 / / 141,784 30,066

Net movement of funds 222 145,725 82,752 466 229,165 111,034

Funds brought forward at 1 April 2008 8,334 397,592 169,369 3,366 578,661 467,627

Funds carried forward at 31 March 2009 8,556 543,317 252,121 3,832 807,826 578,661

72

Financial Review

Consolidated Balance Sheet

As at 31 March 2009 2008–9 2007–8 £000 £000

Fixed assets 779,079 539,853

Investments 16,131 26,644

Current assets 168,681 168,838

Current creditors (18,552) (22,995)

Amounts falling due after more than one year (137,513) (133,679)

Total assets less liabilities 807,826 578,661

Represented by

Unrestricted general funds 8,431 8,185

Unrestricted designated funds 57,753 59,361

Restricted funds 737,810 507,749

Endowments 3,832 3,366

Total funds 807,826 578,661

Fixed assets

Comprises land, buildings, plant and works of art.

Investments

Comprises funds held to generate income for the purchase of works of art and other charitable activity.

Current assets

Includes amounts due from debtors, income received for future projects and money set aside to pay lease rentals on Tate Modern.

Current creditors

This is the money we owe suppliers at the balance sheet date or during the next financial year.

Amounts falling due after more than one year

Lease rentals due on Tate Modern up to and including 2010.

Endowments, restricted and designated funds

Endowments are monies that have been given to Tate but only the income earned on them can be spent. Restricted funds are funds that are restricted for particular purposes. Designated funds are designated for a particular use by the Trustees. General funds are funds available for general use. Tate maintains reserves to provide for unforeseen expenditure and to provide working capital.

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 Botts, CBE

Carol Galley

Noam Gottesman

Scott Mead

Franck Petitgas (Chair)

Anthony Salz

Sir Nicholas Serota

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 Harry Djanogly, CBE

Dame Vivien Duffield

Lady Lynn Forester de Rothschild

Stewart Grimshaw

The Hon Mrs Rita McAulay

Ronald McAulay

Mandy Moross

Paul Myners, CBE

Sir John Ritblat

Lady Ritblat

Lord Sainsbury of Preston Candover

Lady Sainsbury of Preston Candover

The Rt Hon Sir Timothy Sainsbury

Peter Simon

Jon Snow

John J Studzinski, CBE

The Hon Mrs Janet Wolfson de Botton, CBE

Anita Zabludowicz

Tate Foundation Advisory Group

Miel de Botton Aynsley

Oliver Barker

Susan Burns

Tania Fares

Rosemary Leith

Fatima Maleki

Tim Marlow

Victoria Miro

Nicola Reed (Chair)

Anita Zabludowicz

Tate Foundation Campaign Group

John Botts, CBE


Melanie Clore

Elisabeth Murdoch

Franck Petitgas (Chair)

Sir Nicholas Serota



Corporate Advisory Group

Jonathan Bloomer

Sir Crispin Davis

Chris Gibson-Smith

Richard Gnodde

Jan Hall

Janice Hughes

Jenny Prince

Roland Rudd (Chair)

Anthony Salz

Jan Shawe

Sir Martin Sorrell


Tate Patrons Executive Committee

Shane Akeroyd

Kiran Arora


Jacqui Beecroft

Elena Bowes

Pierre Brahm

Elizabeth Brooks

Vicky Hughes (Chair)

John Huntingford

Terry Watkins

Corporate Supporters

Access Industries

AXA Art

Bloomberg

BP plc

BT

CulturesFrance

Fujitsu

Laurent-Perrier

Le Méridien

Nissan

Sotheby’s

Tate & Lyle PLC

UBS

Unilever

Corporate Members

Accenture

AIG

Apax Partners LLP

Aviva plc

Barclays Wealth

Clifford Chance

Credit Suisse

Dechert LLP

Deutsche Bank

Drivers Jonas

EDF Energy

Ernst & Young

Freshfields Bruckhaus Deringer

Friends Provident plc

GAM

GLG Partners

Hanjin Shipping Company

HSBC Holdings plc

Investec Asset Management

IPC Media

Jones Day

Linklaters

Nomura

Pearson

Rathbone Brothers plc

RBS

RWE npower

Shearman & Sterling LLP

Sotheby’s

Tishman Speyer

UBS

Tate Britain and Tate Modern Benefactors

29th May 1961 Charitable Trust

Agnew’s

The Josef and Anni Albers Foundation

Alexander and Bonin Publishing, Inc

Mr Richard Allan


The Annenberg Foundation

Klaus Anschel

John H Armstrong

The Arnold Foundation

The Art Fund

Art Mentor Foundation Lucerne

The Arts and Humanities Research Council

Arts Council England

Charles Asprey

Professor John Ball

The Ron Beller and Jennifer

Moses Family Foundation

Luis Benshimol

Anne Best

Black Rat Press

Steve Blatt

Mel Bochner

The Charlotte Bonham-

Carter Charitable Trust

Lauren and Mark Booth

Mr Charles Booth-Clibborn

and the Paragon Press

Ruth Boswell

Louise Bourgeois

Frances and John Bowes

Mr Gordon Bowyer

Luther W Brady

Pierre Brahm

Ivor Braka Limited

The Deborah Loeb Brice Foundation

Daniel and Estrellita Brodsky

Family Foundation

John Brodzky

Donald L Bryant Jr Family

The Martin Bucksbaum Family Foundation

Melva Bucksbaum and Raymond Learsy

Rita Rovelli Caltagirone

Mark and Katie Cecil

Trudy and Paul Cejas

James Chanos

Charities Advisory Trust

Henry Christensen III

Donations, Gifts, Legacies and Sponsorships

74

Patricia Phelps de Cisneros

The Clore Duffield Foundation

Mr Edwin C Cohen

Gérard Cohen

Dr Michael Compton

Mr Christopher Cone

Carole and Neville Conrad

The Ernest Cook Trust

Paul Cooke

The Coutts Charitable Trust

John Cox

Michael Craig-Martin

Paula and Jim Crown in honour of Jim Gordon

Carlos and Rosa de la Cruz

Cultural Leadership Programme

Thomas Dane

Manny and Brigitta Davidson and the Family

Mr and Mrs Michel David-Weill

Julia W Dayton

Tiqui Atencio Demirdjian and Ago Demirdjian

Department for Children, Schools and Families

Department for Culture, Media and Sport

Department for Innovation,

Universities & Skills

Simon C Dickinson Ltd

Sir Harry and Lady Djanogly

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80

Featured art and artists

Cover

Gustav Klimt Beethoven Frieze

1901–2 © Belvedere, Vienna

Pages 1–9

Tate Britain Duveens Commission

2008 at Tate Britain

Martin Creed Work No. 850

2008 © Martin Creed

Pages 10–11

Anselm Kiefer Palm Sunday 2006

ARTIST ROOMS Tate/National Galleries

of Scotland © Anselm Kiefer

Pages 14–15

Peter Paul Rubens The Apotheosis of

James I and other studies: Multiple

Sketch for the Banqueting House

Ceiling, Whitehall c1628–30 Tate

Pages 16 & 33

Heimo Zobernig and the Tate

Collection at Tate St Ives, with Cracked

Mirror 1989 in the foreground

© Heimo Zobernig

Pages 34–5

Altermodern: Tate Triennial

2009 at Tate Britain

Left to right: Spartacus Chetwynd Hermitos

Children 2008 © courtesy the artist and

Herald Street; Subodh Gupta Line of Control

2008 © courtesy the artist, Arario Gallery

and Hauser & Wirth Zurich London; Bob

and Roberta Smith Off Voice Fly Tip 2009

© courtesy the artist and Hales Gallery

Pages 36–7

Cildo Meireles Fontes 1992–2008

© Cildo Meireles

Pages 38–9

Francis Bacon Paralytic Child Walking

on all Fours (from Muybridge) 1961

Collection Gemeentemuseum Den Haag,

The Hague © The Estate of Francis

Bacon. All rights reserved. DACS 2009

Pages 40–1

Both artworks: Mark Rothko Red

on Maroon 1959 Tate © 1998 Kate

Rothko Prizel & Christopher Rothko

ARS, NY and DACS, London 2009

Pages 42–3

Gustav Klimt Adam and Eve

1917–18 © Belvedere, Vienna

Pages 44–5

Edgar Degas Dancer Putting on her

Stocking c1900, posthumous cast Tate

Pages 46–7

Flux Concerts at UBS Openings:

The Long Weekend 2008

Pages 48–9

Mark Bradford Los Moscos

2004 © Mark Bradford

Pages 52–3

Michelangelo Pistoletto being interviewed

for TateShots at Tate Modern

Pages 56–7

Andy Warhol Paintings and Posters

at Wolverhampton Art Gallery, part

of ARTIST ROOMS On Tour

© The Andy Warhol Foundation for

the Visual Arts/Artists Rights Society

(ARS), New York/DACS, London 2009

Pages 58–9

Heimo Zobernig at Calouste Gulbenkian

Foundation’s Modern Art Centre, Lisbon

Heimo Zobernig Nr. 2 1989 © Heimo Zobernig

Pages 60–1

Richard Long Circle in the Andes 1972

Collection Rijksmuseum Twenthe,

Enschede, depot VBVR © Richard Long

Pages 62–3

The Unilever Series 2008 at Tate Modern

Dominique Gonzalez-Foerster TH.2058

2008 © Dominique Gonzalez-Foerster














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Published 2009 by





© Tate 2009

ISBN 978 1 85437 916 0













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Fax 020 7887 8738



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Tel +1 212 643 2818

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Or visit us at


Published 2009 by





© Tate 2009

ISBN 978 1 85437 916 0













Designed by

Why Not Associates


Photography by

James Deavin

www.jamesdeavin.com

Paper supplied by

Fenner Paper


Printed by

Push

www.push-print.com



Tate Report08–09

Tate Report 08

–09

Acquisitions to the Collection

Tomma Abts born 1967

Untitled # 1 2004

Graphite, coloured pencil and ink on medium weight wove paper support: 840 x 594 mm Purchased from greengrassi, London 2008 T12759

Josef Albers 1888-1976

White Line Square Series (I-XVII) Presented by the American Fund for the Tate Gallery, courtesy of Melinda Shearer Maddock 2009 P79765-P79769

White Line Square III 1966

Lithograph on paper support: 530 x 530 mm P79765

White Line Square IX 1966


White Line Square XI 1966


White Line Square XII 1966


White Line Square XV 1966


Victor Alimpiev born 1973

Sweet Nightingale 2005

Solovushka Single-channel colour video projection, sound duration: 6min, 44sec number 3 in an edition of 5 Purchased from Regina Gallery, Moscow with funds provided by Outset Contemporary Art Fund 2009 T12892

Phillip Allen born 1967

Beezerspline (Counter Attack Version) 2003

Oil on board support: each1827 x 1220 x 90 mm Purchased from The Approach, London with funds provided by the Nicholas Themans Trust 2009 Image © Phillip Allen T12824

Pawel Althamer born 1967

associated with Wilhelm Sasnal born 1972

associated with Monika Sosnowska born 1972

associated with Jakub Julian Ziolkowski born 1980

associated with Artur Zmijewski born 1966

FGF, Warsaw 2007

FGF, Warszawa Installation comprising: four hardboard wall partitions; a wooden platform; a door with door-handle by Monika Sosnowska; found tram window, seat, and table; a wooden shelf unit including a journal, various books, catalogues and paper matter, a series of soft sculptural figures, a miniature chair and sculpture stand; a painting by Jakub Julian Ziolkowski; a painting by Wilhelm Sasnal; a video on DVD by Artur Zmijewski, with DVD player and monitor; metal sink with plastic water-tank and bucket; revolving mirror; and a found metal and canvas tent. displayed: 8560 x 4280 x 3090 mm Purchased from Foksal Gallery Foundation, Warsaw with funds provided by the 2007 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2008 Image © Pawel Althamer T12915

Hurvin Anderson born 1965

Jersey 2008

Oil on canvas support: 2800 x 2500 mm Purchased from Thomas Dane Gallery, London with funds provided by the 2008 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2009 T12889

Rasheed Araeen born 1935

Zero to Infinity 1968-2007

Wood and paint object, each: 500 x 500 x 500 mm Purchased from the artist 2009 Image © Rasheed Araeen T12756

Diane Arbus 1923-1971

Fire Eater at a Carnaval, Palisades Park, N.J. 1956 1956, printed after 1971

Black and white silver gelatin print on paper image: 209 x 137 mm number 3 in an edition of 75 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00517

42nd Street Movie Theatre Audience, N.Y.C. 1958 1958, printed after 1971


AR00518

Fat Girl Yawning 1960

Black and white silver gelatin print on paper image: 246 x 162 mm number 12 in and edition of 75 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00567

Clouds on screen at a drive-in, N.J. 1960


AR00568

Child teasing another, N.Y.C. 1960


AR00569

Siamese Twins in a Carnaval Tent, N.J. 1961 1961, printed after 1971


AR00519

Nancy Bellamy's Bedroom, N.Y.C. 1961 1961, printed after 1971


AR00520

Two Female Impersonators Backstage, N.Y.C. 1961 1961, printed after 1971


AR00521

Jack Dracula, the Marked Man, N.Y.C. 1961


AR00570

Headless Woman, N.Y.C. 1961


AR00571

Headless Man, N.Y.C. 1961


AR00572

The backwards man in his hotel room, N.Y.C. 1961


AR00573

A House on a Hill, Hollywood, Cal. 1962 1962, printed after 1971


AR00516

The Human Pincushion, Ronald C. Harrison, N.J. 1962 1962, printed after 1971


AR00522

Three Boys at a Baseball Game in Central Park, N.Y.C. 1962, printed after 1971


AR00523

Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962 1962, printed after 1971


AR00524

Retired Man and His Wife at Home in a Nudist Camp One Morning, N.J. 1963 1963

Black and white silver gelatin print on paper image: 370 x 377 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00510

Xmas Tree in a Living Room in Levittown 1963 1963


AR00515

Teenage Couple on Hudson Street, N.Y.C. 1963 1963, printed after 1971


AR00525

A Young Waitress at a Nudist Camp, N.J. 1963 1963, printed after 1971


AR00526

A Husband and Wife in the Woods at a Nudist Camp, N.J. 1963 1963, printed after 1971


AR00527

Burlesque Comdedienne in her Dressing Room, Atlantic City, N.J. 1963 1963, printed after 1971


AR00528

Russian Midget Friends in a Living Room on 100th Street, N.Y.C. 1963 1963, printed after 1971


AR00529

Jewish Couple Dancing, N.Y.C. 1963 1963, printed after 1971


AR00534

Santas at the Santa Claus School, Albion, N.Y. 1964 1964, printed after 1971


AR00530

A Flower Girl at a Wedding, Conn. 1964 1964, printed after 1971


AR00531

Lady Bartender at Home with a Souvenir Dog, New Orleans L.A. 1964 1964, printed after 1971


AR00532

Bishop by the Sea, Santa Barbara, Cal. 1964 1964, printed after 1971


AR00533

Tattooed lady with a dog, Philadelphia, PA 1964


AR00574

Mrs T.Charlton Henry in an Evening Gown, Philadelphia, Pa. 1965 1965, printed after 1971


AR00535

Girl in a Watch Cap, N.Y.C. 1965 1965, printed after 1971


AR00536

Young Man and His Pregnant Wife in Washington Square Park, N.Y.C. 1965 1965, printed after 1971


AR00537

Woman with a Locket in Washington Square Park, N.Y.C. 1965 1965, printed after 1971


AR00538

Puerto Rican Woman with a Beauty Mark, N.Y.C. 1965 1965, printed after 1971


AR00540

Two Friends at Home, N.Y.C. 1965 1965, printed after 1971


AR00545

Two Friends in the Park, N.Y.C. 1965 1965, printed after 1971


AR00546

A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966 1966


AR00509

A Young Brooklyn Family going for a Sunday Outing, N.Y.C. 1966 1966


AR00512

Woman in a Rose Hat, N.Y.C. 1966 1966, printed after 1971


AR00539

Identical Twins, Roselle, N.J. 1967 1967


AR00506

Boy with a Straw Hat Waiting to March in Pro-War Parade, N.Y.C. 1967 1967


AR00507

Patriotic Young Man with a Flag, N.Y.C. 1967 1967


AR00541

A Child Crying, N.J. 1967 1967, printed after 1971


AR00542

Masked Man at a Ball, N.Y.C. 1967 1967, printed after 1971


AR00543

A Family on their Lawn one Sunday in Westchester, N.Y. 1968 1968


AR00513

Superstar at Home, N.Y.C. 1968 1968, printed after 1971


AR00544

Naked Man Being a Woman N.Y.C. 1968 1968, printed after 1971


AR00547

A Very Young Baby, N.Y.C. 1968 1968, printed after 1971


AR00548

Topless Dancer in her Dressing Room, San Francisco, Cal. 1968 1968, printed after 1971


AR00549

Four People at a Gallery Opening, N.Y.C. 1968 1968, printed after 1971


AR00550

Girl Sitting on Her Bed with Her Shirt Off, N.Y.C. 1968 1968, printed after 1971


AR00551

Jorge Luis Borges in Central Park, N.Y.C. 1969

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1968, printed after 1971


AR00552

Man at a Parade on Fifth Avenue, N.Y.C. 1969 1969, printed after 1971


AR00553

Elderly Couple on a Park Bench, N.Y.C.1969 1969, printed after 1971


AR00554

Five Children in a Common Room, N.J. 1969 1969, printed after 1971


AR00559

A Jewish Giant at Home with his Parents in the Bronx, N.Y. 1970 1970


AR00508

Mexican Dwarf in his Hotel Room, N.Y.C. 1970 1970


AR00511

The King and Queen of a Senior Citizen's Dance, N.Y.C. 1970 1970


AR00514

Albino Sword Swallower at a Carnival, Md. 1970 1970, printed after 1971


AR00555

Two Men Dancing at a Drag Ball, N.Y.C. 1970 1970, printed after 1971


AR00556

Tattooed Man at a Carnnival, Md. 1970 1970, printed after 1971


AR00557

Woman in Floppy Hat, N.Y.C. 1970 1970, printed after 1971


AR00558

Masked Woman in a Wheelchair, Pa. 1970 1970, printed after 1971


AR00560

Untitled (7) 1970-71 1970-71, printed after 1971


AR00561



AR00562



AR00563



AR00564



AR00565



AR00566

Ai Weiwei born 1957

Table and Pillar 2002

Wooden pillar and table dating back to the Qing Dynasty unconfirmed: 4600 x 900 x 900 mm Purchased from Galerie Urs Meile, Beijing-Lucerne with funds provided by the Asia Pacific Acquisitions Committee 2007, accessioned 2008 T12809

Terry Atkinson born 1939

Postcard from Trotsky in Gdansk to Svetlana Stalin and Malcolm Muggeridge, dated 1983 'The blood of Christ certainly passeth all understanding'. 1982

Acrylic and mixed media on canvas support: 1524 x 2134 mm Purchased from the artist with funds provided by Tate Members 2009 T12835

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Fiona Banner born 1966

The House of Fairy Tales Purchased from The House of Fairy Tales, London, with assistance from Anne Best 2008 P79374-P79395

Once Upon A Time 2008

Etching on paper image: 362 x 303 mm Image © Fiona Banner P79374

Georg Baselitz born 1938

Folkdance Melancholia 1989

Volkstanz Marode Oil on canvas unconfirmed: 2500 x 2500 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00031

Where is the Yellow Milkjug, Mrs Bird? 1989

Wo ist der gelbe Milchkrug, Frau Vogel? Oil on canvas unconfirmed: 2500 x 2500 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00032

David Batchelor born 1955

I Love King's Cross and King's Cross Loves Me, 8 2002-7

4 found dollies, acrylic sheet, enamel paint (2002) and 2 found dollies, acrylic sheet, enamel paint (2007) object, each: 135 x 630 x 485 mm object, each: 125 x 655 x 500 mm Purchased from Wilkinson Gallery, London with funds provided by Tate Patrons 2009 T12801

Spectrum of Brick Lane 2 2007

Lightboxes, steel shelving, acrylic sheet, fluorescent lights, cable and plug boards unconfirmed: 5200 x 900 x 310 mm Purchased from Wilkinson Gallery, London with funds provided by Tate Patrons 2009 T12800

Joseph Beuys 1921-1986

Acer platanoides 1945

Pressed leaf on white drawing paper support: 474 x 317 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00630

Sun and Pylon 1946

Pencil, watercolour and chloride on paper support: 208 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00629

Dove, Food, Rainbow 1949

Pencil and watercolour on card support: 207 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00095

Ice Age 1951

Pencil and Braunkreuz oil on paper support: 622 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00096

Roses 1952

Pencil and watercolour on paper support: 209 x 254 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00097

The Table 1952

Pencil, watercolour, chloride and Hauptstrom stamp on paper support: 209 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00098

Langhaus (Vitrine) 1953-62

Langhaus (Vitrine) Wood and glass vitrine with tree trunk, walking-stick painted with oil, two wooden elements and felt displayed: 1830 x 1545 x 640 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00087

Angel Whale 1953

Pencil on paper support: 298 x 414 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00099

Weird Sister 1953-62

Pencil, Braunkreuz oil and grey oil on acetate support: 391 x 474 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00100

Geysir 1953

Watercolour on paper in two parts support (left): 226 x 218 mm support (right): 224 x 219 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00631

White Woman in the Grass (Fairy) 1954

Weisse Frau in Gras (Fairy) Pencil and watercolour on card support: 193 x 122 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00101

Sculptures 1954

Pencil, watercolour and chloride on greaseproof paper, in two parts support (upper): 245 x 347 mm support (lower): 241 x 346 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00102

Crystal Measurement 1954

Watercolour on paper support: 276 x 305 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00632

Two Red Fish 1954

2 rote Fische Watercolour on paper support: 399 x 466 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00633

From the Life of the Bees 1954

: aus dem Leben der Bienen Watercolour on paper support: 502 x 685 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00635

Bathroom of Circe 1954-58

Badezimmer der Circe Watercolour and gold paint on paper and board support: 213 x 304 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00636

Hearts of the Revolutionaries: Passage of the Planets of the Future 1955

Passage der Zukunftplanetoiden Watercolour on card support: 295 x 490 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00103

Untitled 1955

Leaf and lime on cardboard support: 302 x 244 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00696

Observation on the Cat 1956

Beobachtung fur Katze Pencil on paper support: 316 x 241 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00104

Actress 1956

Crayon and watercolour on paper support: 252 x 200 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00637

Untitled 1957

Stone dust and white clay on cream paper support: 316 x 241 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00638

Brightly-Lit Stag Chair 1957-71

Collage with pencil, oil and masking-tape on paper support: 1390 x 963 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00697

Actresses 1958

Aktricen Pencil and watercolour (chloride) on paper support: 207 x 290 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00105

Untitled (Frauendarstellung) 1958

Oil and gouache on paper support: 428 x 301 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00106

Clan 1958

Grey oil, watercolour (chloride) on paper support: 207 x 285 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00107

Blacksmith II 1958

Schmied II Pencil on card support: 210 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00108

Monument to the Stag 1958-85

Hirschdenkmal Wooden table, iron and copper Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00602

Table with Accumulator 1958-85

Tisch mit Aggregat Wooden table, accumulator, clay and wire Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00603

Probe in the bloodstream of the oak 1958

Sonde im Blutkreislauf des Eiches Collage with tempera, pencil, pin, envelop and heavy drawing paper. Verso: architectural drawing of the Catholic Church, Lubeck support: 238 x 532 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00634

Wooden Virgin 1958

Jungfrau (Holz) Oil on paper support: 180 x 237 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00639

FILTER 1958

Pencil and gold paint on airmail paper support: 287 x 203 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00640

Untitled 1958

Watercolour and tempera on paper support: 351 x 475 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00641

Untitled 1958

Grey oil and collage on architectural paper support: 210 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00642

Witches Spitting Fire 1959

Hexen Feuer Speiend Pencil and Braunkreuz oil on paper support: 207 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00109

Battery 1959

Collage, pencil and Braunkreuz oil on paper support: 240 x 252 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00110

Monument to the Stag 1959

Hirschdenkmal Pencil on paper support: 429 x 395 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00111

Electricity 1959

die Electrizitat Braunkreuz oil and watercolour on paper, three parts support (upper): 238 x 336 mm support (centre): 238 x 338 mm support (lower): 238 x 337 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00112

Pregnant Woman with Swan 1959

Schwangere und Schwan Oil and watercolour on paper support: 276 x 214 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00114

Untitled 1959

Pencil, Braunkreuz oil and typewritten text on paper support: 210 x 297 mm

































































AR00643

Untitled 1959

Grey oil and pencil on white paper support: 279 x 214 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00644

Woman with falling stone 1959

Pencil on lined paper support: 296 x 207 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00645

Untitled 1959-60

Braunkreuz oil, pencil and gouache on pergamin-type paper mounted between two sheets of plexiglas in a zinc frame support: 200 x 292 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00646

Girl Pushing Against Elastic Sculpture 1961

Madchen drucht elastische Plastik ein Braunkreuz oil and collage on paper support: 238 x 339 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00113

2 Sheep's Heads 1961-75

2 Schafskopfe Oil on paper and oil and fat on paper, 2 parts support: 755 x 774 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00647

Demonstration: Hand 1961

Collage and oil on paper and cardboard support: 220 x 220 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00648

Cross 1961

Kreuz Collage, grey oil paint and watercolour on card support: 430 x 365 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00649

Trance in the House of the Shaman 1961

Collage and pencil on paper support: 177 x 164 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00650

Untitled 1961


AR00651

Josef Beuys: Zeichnungen Aquarelle Olbilder Plastische Bilder. Städtisches Museum Haus Koekkoek Kleve 1961

Poster on paper image: 310 x 189 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00825

Braunkreuz 1962

Braunkreuz oil on paper in 5 parts support (upper left): 169 x 178 mm support (upper right): 125 x 179 mm support (lower left): 115 x 179 mm support (lower centre): 177 x 178 mm support (lower right): 120 x 179 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00652

Untitled 1962

Braunkreuz oil on paper support: 388 x 279 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00653

Tails 1962

Braunkreuz oil, pencil and felt on paper support: 397 x 1542 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00654

For Siberian Symphony 1962

Braunkreuz oil and watercolour on paper support: 636 x 633 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00655

Untitled 1962

Vinyl record with Braunkreuz oil, seeds, and vegetable matter on paper displayed: 779 x 523 x 60 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00656

Runrig 1962-72

Braunkreuz oil on paper, three parts support (upper): 197 x 161 mm support (centre): 197 x 174 mm support (lower): 197 x 197 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00657

Physico-Chem-Zeit-Konstellation 11:00 23:00 1962

Physico-Chem-Zeit-Konstellation 11:00 23:00 Oil and pencil on card, two parts support (upper): 208 x 280 mm support (lower): 212 x 212 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00698

+ - 1962

Oil on card, two parts support (left): 309 x 228 mm support (right): 310 x 228 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00699

White Turbulence 1963

Weisse Trussung Two original paintings on board in painted zinc and glass box with title inscribed by the artist on glass displayed: 485 x 729 x 80 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00091

Play 17 1963

Stück 17 Braunkreuz oil of a "fat corner"on the typed text of Joseph Beuys' Play 17 support: 280 x 215 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00115

Fluxus-Name List 1963

Fluxus-Namensliste Collage, ink and pencil on notepaper, in two parts support: 620 x 218 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00658

Untitled 1963

Silver paper on cardboard support: 508 x 363 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00659

Untitled 1963-64

Braunkreuz oil on newspaper, in four parts, framed in three frames support (upper left): 292 x 407 mm support (lower left): 296 x 408 mm support (centre): 304 x 225 mm support (right): 575 x 402 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00660

Felt Action 1963

Filz Aktion Braunkreuz oil on paper with felt support: 647 x 434 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00700

Fat Chair 1964-85

Fettstuhl Vitrine with painted wooden chair with fat and thermometer displayed: 1830 x 1550 x 640 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00088

For Felt Sculpture 1964

Für Filzplastik Braunkreuz oil and fat on paper, in four parts support (lower left): 257 x 377 mm support (lower centre): 260 x 378 mm support (lower right): 250 x 378 mm support (upper): 398 x 279 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00116

Therapeuticum 1964

Therapeuticum Pencil, oil and fat on paper support: 294 x 209 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00117

Tunnel (Cathode Rays) Felt-Room Action 1964

Pencil, pen and ink and oil on paper support: 236 x 195 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00118

For Brown Environment 1964

Für Braun Raum Braunkreuz oil on paper, two parts in one frame support (left): 360 x 278 mm support (right): 363 x 233 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00119

For Brown Environment: Giant Vessels 1964


AR00120

For Brown Environment: Giant Vessels 1964


AR00130

Damp Value 1964-1974

Pencil on paper in hand-painted frame with glass and steel wire frame: 811 x 591 x 31 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00604

Model for a Felt Environment 1964

Entwurf fur ein Filzenvironment Vitrine with felt, metal and wood with grey oil paint displayed: 1840 x 1680 x 840 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00619

Felt Sculptures 1964

Pencil and grey oil on paper support: 391 x 270 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00661

Untitled 1964

Oil, Braunkreuz oil, gold paint, ink and pencil on paper support: 295 x 208 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00662

Actress 1964

Aktrice Pencil on cardboard support: 568 x 208 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00663

under Tension 1964

unter Spannung Oil, gouache and pencil on paper support: 296 x 209 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00664

Motor 4 1964-80

Collage, pencil, ink, acid, cardboad and aluminium foil on paper support: 344 x 184 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00665

Natural History 1964-82

Naturgeschichte Housepaint, shellac and sand on wooden board support: 333 x 366 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00666

ACTIONS / AGIT POP / DÉ-COLL / AGE / HAPPENINGS / EVENTS / ANTI ART / L'AUTRISME / ART TOTAL / RE 1964


AR00731

Galerie Heiner Friedrich, Munich circa 1969


X30486

Houses of the Shaman 1965

Braunkreuz oil and pencil on paper, two parts support (left): 359 x 259 mm support (right): 353 x 255 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00121

Dwarf (Self-Portrait) 1965


AR00122

Granite in Arid Chalk 1965

Pencil, watercolour and chloride on paper support: 297 x 208 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00123

Sostanza Plastica 1965


AR00667

INTELLIGENTIA 1965


AR00668

Untitled 1965

Coloured paper collage on paper support: 417 x 296 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00669

Felt Action for an Actress 1965

Filz-Aktion für eine Aktrice Grey oil paint and pencil on paper support: 210 x 298 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00670

Untitled 1965

Pencil and fat on white writing paper support: 209 x 297 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00671

24 Stunden 1965


X30632

Score for MANRESA 1966

Partitur fur Manresa Pencil and collage on paper support: 209 x 296 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00124

Whale trap 1966

Pencil and Braunkreuz oil on cardboard support: 240 x 372 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00672

Object for MANRESEA 1966

Cardboard disc and string support: 447 x 311 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00673

Score for Siberian Symphony 1966

Partitur fur Sibirische Symphonie Collage on light white writing paper and light grey cardboard in two parts support (left): 309 x 209 mm support (right): 297 x 212 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00674

the Breathless 1966

der Atem Fat, copper oxide and pencil on paper, two parts support: 514 x 411 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00675

Schmela 1966

Schmela Braunkreuz oil on paper support: 400 x 564 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00676

German Students Party 1967

Deutsche Studentenpartei Five sheets of draft manifesto with ink and stamp on paper support, each: 208 x 295 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00677

Score 1967

Partitur Collage, Braunkreuz oil and pencil on cardboard an paper support: 692 x 694 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00678

XIII INTERNATIONALE KUNST GESPRÄCHE 1967


AR00810

Fat Corner (Process) 1968

Fettecke (Prozess) Vitrine with fat in two cardboard boxes displayed: 1835 x 1680 x 840 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00618

For FOND II 1968

Braunkreuz oil and ink on notebook paper support: 264 x 200 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00679

Joseph Beuys und Henning Christiansen. Eurasienstab 1968


AR00717

Joseph Beuys FOND II 1968


AR00748

Beuys. Objecten, Tekeningen, Schilderijen 1968


AR00860

Aktionen ws 68/69. Staatliche Hochschule für Bildende Kunste Braunschweig










































http://www.tate.org.uk/servlet/ViewWork?acno=X30486
























1968-9


X30462

A Party for Animals 1969

Offset lithograph, handwritten text, Braunkreuz oil, felt and stamp on paper support: 526 x 188 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00680

working title: BEUYS (FLUXUS) & CHRISTIANSEN (FLUXUS) 1969


AR00715

Works from 1947 to 1967 from the Collection 1968 Karl Strohe I 1969

Arbeiten von 1947 bis 1967 aus der Sammlung 1968 Karl Stroher I Poster on paper image: 828 x 590 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00747

Joseph Beuys. Zeichnungen, kleine Objekte 1969


X30432

Beuys & Christiansen. Konzert 1969


X30436

Experimenta 3. Deutsche Akademie der Darstellenden Künste, Frankfurt 1969


X30485

Felt Suit 1970

Filzanzug Felt suit and wood hanger displayed: 1660 x 660 x 260 mm number 77 in an edition of 100 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00092

Untitled 1970

Ohne Titel Black and white photograph on canvas support: 2330 x 2275 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00600

The collection of the Emmanuel Hoffmann Foundation 1970

Die Sammlung der Emmanuel Hoffmann-Stiftung Poster on paper image: 644 x 464 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00749

Joseph Beuys. Zeichnungen Kunstverein Ulm im Rathaus 1970


AR00801

Direkte Demokratie Volksabstimmung, Düsseldorf 1970


AR00802

Direkte Demokratie Volksabstimmung. Düsseldorf 1970


AR00813

Tabernakel 1970


AR00859

Joseph Beuys: Groninger Museum 1970


X30460

Beuys. Sammlung Hans und Franz van der Grinten 1970


X30542

Beuys, Transsibirische Bahn 1970 1970


X30543

Joseph Beuys: Tekeningen 1945 - 1970. Vleeshal 1970


X30608

Joseph Beuys, Werke aus der Sammlung Karl Stroher 1970


X30723

In this Way the Dictatorship of the Parties can be Overcome 1971

So kann die Parteiendiktatur uberwunden warden Felt with Braunkreuz cross mounted in a glazed frame object: 1150 x 850 x 78 mm from an edition of 2 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00623

Young Blacksmith with his Work 1971

Pencil on two joined sheets of paper support: 214 x 268 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00681

Overcome Party Dictatorship Now 1971

Überwindet endlich die Parteiendiktatur Poster on paper image: 278 x 395 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00721

Beuys. Multiples + Drawings 1971

Beuys. Multiples + Zeichnungen Poster on paper image: 755 x 520 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00736

Objects & Drawings from the collection of van der Grinten 1971

Objekte & Zeichnungen aus der Sammlung van der Grinten Poster on paper image: 820 x 540 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00750

Düsseldorf Kunstakademie 1971


AR00803

Künstakademie, Freitag, 5. II. 1971 1971


AR00804

Joseph Beuys: Programmentwurf zum Montagabend. Baster Theater 1971


AR00805

Joseph Beuys. 1971


X30541

Joseph Beuys: Signatures. Herzog Anton Ulrich-Museum, Braunschweig 1971


X30609

Joseph Beuys. Zeichnungen Kunstahlle Kiel 1971


X30716

Table with Back Support 1972

Tisch mit Ruckenstutze Cast iron on wooden table painted by the artist unconfirmed: 900 x 1990 x 730 mm Cat iron object from an edition of 12 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00620

La Rivoluzione Siamo Noi 1972

Silkscreen with handwritten text and Hauptstrom stamp support: 1896 x 987 mm number 34 in an edition of 180 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00624

Untitled 1972

Pressed leaves, ink and pencil on paper support: 590 x 420 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00682

Joseph Beuys. Multiples 1972


AR00833

Deutsche Zeitung. 'Was Kann ich Tun?' 1972


AR00838

Prof. Beuys. Flugblatt. Herbst 1972


AR00843

'beuys hat den hut nicht zu nehmen er hat ihn auf' 1972


X30470

Düsseldorfer! Prof. Beuys setz sich hemmungslos für mehr Studienplätze ein. 1972


X30617

Manifest im Kunstverein Hannover. Diskussion mit Beuys ... 1972


X30708

Score for Action with Transmitter (Felt) Receiver in the Mountains 1973


AR00683

Situation 2. Artstudio Hamburg 1973 1973


AR00712

Joseph Beuys. Multiples amd Graphik. Bilder and Katalogue 1973


AR00806

RHEINISCHE POST, Düsseldorf 1973


AR00811

Internationale Sommertagung. Lindau 1973


AR00812

Joseph Beuys: '12 Hour Lecture', Edinburgh Arts '73. The Richard Demarco Gallery 1973


AR00826

Joseph Beuys. Multiples, Bücher und Katalogue 1973


AR00858

Internationales Colloquium. Sonnabend Gallery, New York 1973


X30482

Joseph Beuys, Grafik - Objekte - Dokumentationen 1973


X30515

Avalanche 1970. Kölnischer Kunstverein 1973


X30536

Joseph Beuys: Bleistiftzeichnungen aus den Jahren 1946 - 1964. Edition Heiner Bastian 1973


X30537

Jahre Galerie Klein. 1973


X30595

Astral Chemical Goddess 1974


AR00125

Night in the Rafters 1974


AR00126

For the lecture: The social organism - a work of art, Bochum, 2nd March 1974 1974

Zu dem Vortrag: Der Soziale Organismus - ein Kunstwerk, Bochum 2.03.1974 White and brown chalk on blackboard support: 992 x 1300 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00621

Hare's Blood 1974-77

Hase's Blut Drawing on aluminium lithographic plate from 'Minneapolis-Fragment' with hare's blood and pencil, with Free International University stamp in glazed iron frame unconfirmed: 800 x 1080 x 50 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00625

Untitled 1974

Pencil and oil on paper support: 208 x 148 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00684

Meeting of Lady Roseberry, Joseph Beuys and Buckminster Fuller 1974


AR00706

JOSEPH BEUYS - THE SECRET BLOCK 1974


AR00716

Dillinger. He was the gangster's gangster 1974


AR00723

Beuys at the New School 1974


AR00727

I like America and America Like Me 1974


AR00728

Together with Beuys 1974

Incontro con Beuys Poster on paper image: 892 x 675 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00751

Joseph Beuys: Discussion. The Unviversity of Ulster, Northern Ireland 1974


AR00763

Joseph Beuys: The Secret Block for the Secret Person in Ireland. Institute of Contemporary Arts, The Mall 1974


AR00764

Joseph Beuys: Discussion. Ulster Museum, Belfast 1974


AR00765

Joseph Beuys: Discussion. The Teacher's Centre, Magee University College, Northern Ireland 1974


AR00766

Joseph Beuys: Discussion. Centre for Continuing Education, Derry City 1974




































































AR00767

Jospeh Beuys: Discussion 1974


AR00768

Joseph Beuys: Discussion. Art and Design Centre, Belfast 1974


AR00769

Joseph Beuys: The Secret Block for A Secret Person in Ireland. Municipal Gallery of Modern Art, Dublin 1974


AR00770

Beuys at Forest Hill. The Richard Demarco Gallery, Edinburgh 1974


AR00771

Joseph Beuys: The Secret Block for a Secret Person in Ireland. Municipal Gallery of Modern Art, Dublin 1974


AR00779

Lecture and Discussion with Joseph Beuys and Caroline Tisdall 1974


AR00785

Drawings by Joseph Beuys: The Secret Block For a Secret Person in Ireland. Ulster Museum Botanic Gardens, Belfast 1974


AR00788

Joseph Beuys: The Secret BLock for a Secret Person in Ireland. Ulster Museum Botanical Gardens Belfast 1974


AR00814

Jospeh Beuys: Discussion. The Ulster Museum, Northern Ireland 1974


AR00815

Joseph Beuys: Discussion. The New University of Ulster 1974


AR00816

Dreigliederung. Der Dritte Weg Jenseits von Kapitalismus und Kommunismus? Friedrich von Hardenberg-Haus, Bochum 1974


AR00840

Beuys. A11 Artforum. Munich 1974


AR00841

Joseph Beuys. Ulbricht Collection 1974


X30455

Beuys. Tracce in Italia 1974


X30524

Joseph Beuys: I like America and America likes Me. René Block Gallery, New York 1974


X30525

Selbstverwaltung im Versuch. Bochum 1974


X30626

Die besten Flugblätter der Welt. 7.Produzentengalerie, Berlin 1974


X30628

Beuys. 1974


X30720

The Woman with the Dog 1975

Pencil, oil and metallic compounds on paper and card, nine parts support (top): 254 x 264 mm support (lower, each): 254 x 260 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00127

Bernd Jansen: Portraits from the Düsseldorf Art Scene, Photographs 1968-1975 1975

Bernd Jansen: Portraits of the Düsseldorfer Kunstzene, Fotografien 1968-1975 Poster on paper image: 555 x 338 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00713

Multiples, Bücher und Katalogue aus der Sammlung Dr. Speck 1975


AR00738

Opernstudio 1. Herzog Anton Ulrich Museum 1975


AR00796

Joseph Beuys, Documentatie 1975


AR00797

Jeder Mensch ein Künstler? 1975


AR00798

'ART D'AUJOURD'HUI'. Kunst van Heden 1975


AR00847

(Plakat ohne Textaufdruck) 1975


X30441

Joseph Beuys, Wasserfarben 1936 - 1963 1975


X30483

Joseph Beuys. 1975 - 1976


X30549

Joseph Beuys, Zeichnungen, Bilder, Plastiken, Objekte von 1947 - 1964 1975


X30630

Honey is Flowing in All Directions 1976

Ink, pencil and 'Free International University' stamp on paper support: 210 x 290 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00128

Sekretarstasche 1976

Sekretarstasche Heavy brown mailing envelope with hand-written manuscript pages support: 408 x 248 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00601

Joseph Beuys als Titelbild de Wirtschaftswoche 1976

Joseph Beuys als Titelbild de Wirtschaftswoche Poster on paper image: 595 x 421 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00709

mit - nebem - gegen. 1976 - 1977


AR00737

BILDER, OBJEKTE. JOSEPH BEUYS. 1976


AR00795

Kunst der 60er und 70er Jahre aus Bonner Privatbesitz 1976


X30514

Monumente Durch Medien Ersetzen… Kunst-und Museumsverein 1976


X30547

Show Your Wound 1977

Photographic negatives, one with two holes and Braunkreuz oil on white glass in a glazed iron frame support (top left): 238 x 330 mm support (top right): 240 x 329 mm support (centre left): 238 x 328 mm support (centre right): 239 x 329 mm support (lower left): 237 x 828 mm support (lower right): 237 x 329 mm Artist's proof aside from an edition of 28 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00093

Show Your Wound 1977-84

Zeige deine Wunde Photographic negatives with two Braunkreuz crosses in a glazed steel frame support: 327 x 450 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00094

The Shaman's Two Bags 1977

Pencil, crayon and ink on paper, two parts support (left): 760 x 564 mm support (right): 745 x 559 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00129

Electric Sphinx 1977


AR00685

Joseph Beuys: Graphische Arbeiten. Galerie-klause No. 23, Essen 1977


AR00799

Discussion, Documenta 6 Kassel 1977


AR00800

Joseph Beuys. Tramstop 1977


X30440

Joseph Beuys. tekeningen, aquarellen, collages, olieverven 1977


X30442

Joseph Beuys: The Secret Block for a Secret Person in Ireland. 1977


X30506

'Die Kontroverse um die Menschen Rechte'. Documenta 6 1977


X30535

Joseph Beuys - Honigpumpe am Arbeitsplatz 1977


X30545

Joseph Beuys. Museum Haus Lange Krefeld 1977


X30546

Joseph Beuys Barraque Dull Odde Raum O-R7 1977


X30550

Facing the Stars 1978

Gegenuber dem Fixsternhimmel Two paper bags from Ireland with pencil and Haupstrom stamp on white glass in glazed iron frame support (left): 186 x 127 mm support (right): 187 x 127 mm From an edition of 5 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00626

Call 1978-83

Aufruf Braunkreuz oil and ink on newspaper support: 479 x 199 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00686

Joseph Beuys. Every Man is An Artist 1978

Joseph Beuys. Jeder Mensch ein Künstler Poster on paper image: 610 x 415 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00704

Beuys. Galleria Santoro 1978


AR00724

Free International University. Discussion with Beuys - Fondazione per la Rinascita dell'Agricoltura 1978

Free International University. Discussione con Beuys - Fondazione per la rinascita dell'agricoltura Poster on paper image: 633 x 933 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00725

Discussion with Beuys 1978

Discussione con Beuys Poster on paper image: 957 x 635 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00752

BEUYS tracce in Italia 1978


AR00753

Multiples - Sammlung Ulbricht 1978


AR00754

L'Hermitte: Dessins. Galerie Le Fil, Cherbourg 1978


AR00781

Beuys 1978


AR00782

Joseph Beuys. Ausstellung und Diskussion in der Galerie Polit-Art 1978


AR00786

Réne Block Presents: Joseph Beuys, Nam June Paik, Klavier Duette in Memoriam George Maciunas (Fluxus Begründer 1932 - 78), Aula Kunstakademie, Düsseldorf 1978


AR00791

Joseph Beuys. Jeder Mensch ein Kunstler 1978


AR00794

Joseph Beuys: Zeichnungen - objekte. Kunstveren Bremerhaven, Karlsburg 1978


AR00846

Joseph Beuys. Galleria Ferrari 1978


AR00852

Beuys. Galleria Santoro 1978


AR00854

Joseph Beuys. Multiplicerad Konst 1978




































































AR00857

Tracce in Italia 1978


X30434

'1. Wochenend- Austellung'. Frankfurt 1978


X30528

JOSEPH BEUYS. Multiplizierte Kunst - Sämtliche Auflagnobjekte und Grafiken aus der Sammlung Dr. Ulbricht. 1978


X30529

z.B. Skulptur. 1978


X30530

Von Lehmbruck bis Beuys. Wilhelm-Lehmbruck-Museum, Duisburg 1978


X30718

Pyramidal image 1979

Pyramidales Bild Oil on newspaper, two parts support (upper): 324 x 546 mm support (lower): 322 x 547 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00687

Europawahl. die Grünen 1979


AR00732

Drawings - Objects 1979

Zeichnungen - Objekte Poster on paper image: 597 x 425 mm

AR00755

Joseph Beuys: 'Ja, jetzt brechen wir hier den Scheiß ab'. Galerie René Block, Berlin 1979


AR00774

Joseph Beuys: Multiplizierte Kunst Ikarus Galerie und Edition 1979


AR00775

Die Grünen Bürgerhaus, Nordweststad 1979


AR00776

Joseph Beuys: Objekter. Grafik. Multi Gallerie Per Sten, Kopenhagen 1979


AR00777

Joseph Beuys. Multiplizierte Kunst Haus Püschel 1979


AR00778

Axel Hinrich Murken. Joseph Beuys and die Medizin 1979


AR00780

Künstler Beuys 1979


AR00783

Beuys 1979


AR00845

International Biennale for Graphic and Visual Art. Stadtpark Wein 1979


AR00849

Manifest 1979


AR00850

Joseph Beuys. Spuren in Italien 1979


AR00851

Joseph Beuys: Unsichtbare Plastik 1971. Galerie Nächst St. Stephan 1979


AR00855

Joseph Beuys. Basisraum Nasse Wäsche. Unsichtbare Plastik 1979


AR00856

Joseph Beuys. Een konfrontatie, in diskussie 1979-80


X30499

Joseph Beuys. Een konfrontatie, 137 Tekeningen 1979


X30500

Joseph Beuys. Mönchehaus, Museum for Modern Art 1979


X30507

Mataré. Kestner-Gesellschaft Hanover 1979


X30516

30 Jahre Kunst in der BRD. Die Sammlung des Städtischen Kunstmuseums Bonn 1979


X30517

Gespräch mit Joseph Beuys. Galerie Nächst St. Stephan 1979


X30521

Entartete Kunst 1979


X30522

bei dieser Wahl: die Grünen. 1979


X30572

Untitled 1980

Collage with fish and fish skin on panel in the original zinc frame unconfirmed: 810 x 550 x 50 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00627

Celtic Object 2 1980

Record, label painted black with Hauptstrom stamp and hare's jawbone, together with a record sleeve in glazed white-painted wooden box object: 841 x 645 x 56 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00628

Fight 1980

Kampf Collage, Braunkreuz oil and pencil on various papers support: 535 x 500 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00688

Coyote II 1980

Photograph with two Braunkreuz crosses on photo-sensitive canvas support: 455 x 703 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00694

Coyote I 1980

Photograph with Braunkreuz cross on photo-sensitive canvas support: 452 x 702 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00695

Andy Warhol and Joseph Beuys 1980


AR00707

Beuys is Here 1980


AR00719

Beuys by Warhol. Paintings + Prints 1980


AR00720

"What is to be done?" 1984. Alternative Technology Versus Nuclear Power 1980


AR00726

Stripes from the House of the Shaman 1980

Poster on paper image: 683 x 440 mm

AR00756

Joseph Beuys directional forces 1980

Joseph Beuys Richtkrafte Poster on paper image: 838 x 557 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00757

Joseph Beuys by Andy Warhol 1980


AR00772

Joseph Bueys: Zeichnungen und Grafik.,Galerie-Verein, Munich 1980


AR00773

Joseph Beuys and Bud Masslov 1980


AR00784

Joseph Beuys at Piero Cavellini 1980


AR00790

Artistes Fév - Mars 80 Nr.3 1980


AR00792

Joseph Beuys: Galleria Delta 1980


AR00793



AR00822



AR00823



AR00827



AR00828

'Avant Garde Art: What's Going Up in the 80's?'. Edinburgh International Festival, The Richard Demarco Gallery 1980


AR00829

Joseph Beuys. Original Graphic Works 1980


AR00834

Appeal by Joseph Beuys. 1980


AR00853

Zeige deine Wunde 1980


X30443

Beuys - Burri 1980


X30444

Der Größte 1980


X30476

Joseph Beuys: Multiplizierte Kunst 1965 - 1980. Kunstmueum Düsseldorf 1980


X30513

Karl-Hofer-Symposium.Theatersaal der Hochschule der Künste Berlin 1980


X30520

Joseph Beuys. Multiples 1968 - 1980 1980


X30533

Kunst in Europa na'68. Stad gent, St Pietersplein … 1980


X30586

Joseph Beuys. Zeichnungen Badischer Kunstverein Karlsruhe 1980


X30650

Joseph Beuys 1980


X30651

Joseph Beuys: Multiplizierte Kunst. Wilhelm-Hack-Museum 1980


X30653

Joseph Beuys. Galerie Holtmann Köln 1980


X30654

'Rettet die Wahner Heide' 1980


X30705

Filme Beuys, Kassel circa 1985


X30715

Domenica delle Palme 1981

Palm leaves and blossom on sulphur in a cardboard box, in a metal and glass vitrine painted grey by the artist unconfirmed, box: 20 x 480 x 700 mm; unconfirmed,stand: 660 x 880 x 650 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00089

Drawing for Dominica delle Palme vitrine 1981-5






































































AR00090

with Filzplastik 1981

mit Filzplastik Collage, crayon and ink on paper support: 577 x 367 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00689

DAS KAPITAL 1970-77 1981


AR00718

Joseph Beuys 1981


AR00739

Beuys in his Office 1981/1989

Beuys im Arbeitsraum Poster on paper image: 422 x 598 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00744

Works from the collections Munchen 1981

Werke aus Munchener Sammlungen Poster on paper image: 847 x 588 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00758

BEUYS 1981


AR00759

Joseph Beuys: Multiples. Galerie Ilverich 1981


AR00821

Robert McDowell for Joseph Beuys' 60th Birthday. Spectro Arts Workshop, Newcastle upon Tyne 1981


AR00831

Podium discussion with Urs Jaeggi and Joseph Beuys. 1981


AR00836

Joseph Beuys: Schwurhand. Galerie Tilly Haderek 1981


X30468

Joseph Beuys. Grasello 1981


X30491

Joseph Beuys. Palazzo Braschi, Rome 1981


X30492

Joseph Beuys exhibition. Galerie Watari Tokyo 1981


X30495

Joseph Beuys stellt sein Gesellschaftsmodell vor Forum 1981

Poster on Paper image: 740 x 535 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

X30577

Joseph Beuys, Raum 3, die ganze deutsche Nachkriegslyrik 1981


X30594

Joseph Beuys: Vrouwen Frauen. Nijmeegs Museum Commanderie Van St. Jan 1981


X30604

Joseph Beuys. Natale a Gibellina 1981


X30605

Zeichen und Mythen. Bonner Kunstverien 1981


X30652

Joseph Beuys: Ölfarben 1936 - 1965. Edition Heiner Bastian 1981


X30661

Joseph Beuys. GFK Kreisheimatmuseum 1981


X30664

Sammlung Ulbricht mit den Neuerwerbungen 1981-3


X30684

Dumb Box 1982

Dumme Kiste Copper and felt object: 470 x 1080 x 630 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00622

Beuys-Blume Gesprach über Baume 1982


AR00714

Joseph Beuys: dernier espace avec introspecteur 1964-1982 1982


AR00743

7000 Oak Trees 1982

7000 Eichen Poster on paper image: 603 x 842 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00745

documenta 7 expects everyone to do his duty 1982


AR00760

COMMENT: 1982

KOMMER: Poster on paper image: 509 x 319 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00761

Beuys-Blume Kontakt mit Baumen Bonn 1982


AR00807

Multiplisert Kunst fra Sammlung Ulbricht, Düsseldorf. Joseph Beuys. 1982


X30494

Joseph Beuys. Frauen und Mädchen 1982


X30606

Joseph Beuys. Multiples 1982


X30663

documenta 7 expects every man to do his duty 1982


X30674

Suche nach dem Sinn 1982


X30675

Joseph Beuys. Frauen Stadt-Sparkasse Dusseldorf 1982


X30685

Joseph Beuys. Goldkuchen, Plakate Vergolderei Kunsthandlung Silvia Menzel 1982


X30686

Untitled 1983

Ink, pencil and stamp on printed paper, in two frames support (each): 145 x 102 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00690

Joseph Beuys: Henry Cole Wing, Victoria & Albert Museum 1983


AR00762

Better Words and Things. Clare College, Cambridge 1983


AR00819

Volksentscheid 1983


X30480

Programm 83-84 1983


X30636

Joseph Beuys, Vitrines. Forms of the Sixties 1983


X30637

Gespräch über bäume. Wein 1983


X30680

Neue Zeichnungen Kunstmuseum Basel 1983


X30681

Joseph Beuys. 57 Zeichnungen und die Skulptur Der Berkönig 1983


X30683

Red on Centre 1984

Painted metal and card support: 316 x 217 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00691

Yellow on Centre 1984


AR00692

Blue on Centre 1984


AR00693

La Piantagione 1984

Pencil and paper collage on paper support: 417 x 296 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00701

Joseph Beuys in Ilverich 1984


AR00741

Joseph Beuys: Konrad Fischer. Düsselfdorf 1984


AR00817

Joseph Beuys: Comune di Bolognano. Bologne 1984


AR00830

Joseph Beuys. Dessins 1984


AR00848

'nothing against modern playwrights but who turned a Threepenny Opera into a million dollar hit.' 1984


X30445

'This is Ludwig van Beathoven, Radio Bonn.' 1984


X30446

Must one really wear a hat as a german artist nowadays? 1984


X30447

'I'm afraid I ought to nominate him for the Goethe Award' 1984


X30448

Joseph Beuys. Ulbricht Collection 1984


X30456

Podiumsdiskussion: Volksentscheid. Bonn 1984


X30477

Joseph Beuys. Fettstuhl 1984


X30497

Freie Herbstuni Bochum 84. Ruhr-Uni, Bochum 1984


X30578

Manifeste: Aufbrüche. Kunsthalle Düsseldorf 1984


X30579

Joseph Beuys. Halbzeit 1984


X30656

Joseph Beuys and Jonas Hafner. Galerie Beck, Augsburg 1984


X30679

J Beuys. Difesa Della Natura 1984


X30682

Joseph Beuys, Landschaften. 1984


X30709

Joseph Beuys. 7000 Eichen 1984


X30719

Scala Napoletana 1985

Wooden ladder, steel wire and lead spheres Overall dimensions variable unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00086

Joseph Beuys 1985






































































X30450

Joseph Beuys, 'is it about a bycicle?' 1985


X30496

Joseph Beuys: Neues Vom Gold. Galerie Van Beveren 1985


X30498

Joseph Beuys: Neuerwerbungen der Sammlung Ulbricht. Städtisches Kunstmuseum, Bonn 1985


X30511

Joseph Beuys: Drawings. New City Art Gallery Linz 1985


X30598

Kreuz + Zeichnungen. Religiöse Grundlagen im Werk von Joseph Beuys Suermondt-Ludwig-Museum 1985


X30599

Joseph Beuys: New Actions. Fundacion Caja de Pensiones, Madrid 1985


X30600

Global-Art-Fusion 1985


X30601

Räume heutiger Zeichnungen. Werke aus dem Basler Kupferstichkabitnett. 1985


X30616

Joseph Beuys. Objekte - Grafik 1985


X30634

Joseph Beuys: Westfalen-Blatt. Galerie Jesse, Bielefeld 1985


X30657

Joseph Beuys. Galerie Monschauer, Koln 1985


X30658

Joseph Beuys: Aktive Neutralität. Vortrag - Diskussion - Aktivitäten. Stadthofsaal Rorschach 1985


X30659

Tag X. Verhindert die Atommultransporte ins Wendland 1985


X30660

Joseph Beuys. Kunstverein, Hamburg 1985


X30710

Multiples 1968 - 1985. New Residency, Bamberg 1985


X30711

Joseph Beuys. Ölfarben 1949-1967 1985


X30727

Beuys by Ute Klophaus 1986


AR00740

Capri-Batterie 1986


AR00746

Beuys in Scotland (1970 - 82): A Memorial Exhibition. The Richard Demarco Gallery 1986


AR00837

Joseph Beuys: Die späte Druckgraphik 1986


X30503

Joseph Beuys. Palazzo Regale 1986


X30531

Kreuz + Zeichen. Stadtmuseum Ratingen 1986


X30574

Joseph Beuys: Tegninger 1986


X30597

Joseph Beuys: Piirustuksia, veistoksia, vitriinejä. Sara Hildénin Museum 1986


X30603

Beuys zu Ehren. Lenbachhaus, Munich 1986


X30712

Joseph Beuys: Wasserfarben. Kunstverein für die Rheinlande und Westfalen Düsseldorf Grabbeplatz Kunsthalle 1986


X30714

Joseph Beuys: Wasserfarben. Van Reekum Museum, Apeldoorn 1987


X30451

Joseph Beuys: Die Soziale Plastik. Accademia di Belle Arti Napoli 1987


X30452

Joseph Beuys: Braendpunkt Düsseldorf. Museum of Contemporary Art, Aalborg, Denmark 1987


X30504

Gruße an Beuys von 199 Künstlern. Museum Koekkoek Kleve 1987


X30611

Fronleichnam '87. Kassel 1987


X30618

Joseph Beuys. Gallery Krzysztofory 1987


X30640

Joseph Beuys: Plastische Theorie. Regionalmuseum Xanten am Dom 1987


X30676

Brennpunkt Düsseldorf 1962 - 1987. Kunstmuseum Düsseldorf 1987


X30694

Joseph Beuys. Kunstmuseum, Basel 1987


X30724

Joseph Beuys. Statens Museum for Art 1988


X30619

Ommagio a Joseph Beuys. L'Isola Commune di Capri 1988


X30641

Joseph Beuys: Zeichnungen - Skulpturen - Objekte. Düsseldorf 1988


X30691

Joseph Beuys: Mataré und sein Kreis. Galerie Norbert Blaeser, Düsseldorf 1988


X30693

Beuys before Beuys: 200 drawings and watercolours, 1942 - 1964. Fonds Régional d'Art Contemporain, Marseille 1989


X30620

Kultur ist … , Kassel 1989


X30690

Imaginäres Museum - Kabinette 1. Kunstverein Braunschweig 1989


X30692

Die Unsichtbare Skulptur. Kassel circa 1989


X30717

Joseph Beuys: A Private Collection. A11 Artforum, Munich. 1990


X30588

Joseph Beuys: Tafel - Objekte - Graphiken. Galerie Bernhard Link, Düsseldorf 1990


X30670

Landschaftsbilder. Kaiser Wilhelm Museum 1990


X30672

Beuys vor Beuys. Palacio de Sastago, Zaragoza and Casa del Monte, Madrid 1990


X30677

Beuys 1950 - 1963. Getlinger Photographiert, Stadtisches Museum Kalkar 1990


X30689

Beuys. Kestner-Gesellschaft. Hannover 1990


X30704

Der Galerie-Verien, Munich, 1965 - 90 1990


X30706

Düsseldorf May 1991. Joseph Beuys - Gang Bang - Fluxus 91 1991


AR00722

A Room for Thinking of Beuys: A public exhibition to link with the spirit of Beuys, Watari Museum of Contemporary Art 1991


AR00730

Joseph Beuys: Poster Collection 1991


X30454

Joseph Beuys: Beyond the Border to Eurasia. The Watari Museum of Contemporary Art 1991


X30478

Museum und Kirche Religiöse Aspekte moderner Kunst 1991


X30581

Joseph Beuys: Eine Innere Mongolei. Munich Residency 1991


X30582

Joseph Beuys. Museum Koekkoek Kleve 1991


X30638

Joseph Beuys: Zeichnungen zur Plastischen Threorie. Museum der Stadt Langen. 1991


X30671

Joseph Beuys - Gang Bang - Fluxus - 91, Düsseldorf 1991


X30673

Joseph Beuys: Plastische Bilder und Wasserfarbenblätter. Galerie der Stadt Kornwestheim. 1991


X30688

Joseph Beuys - Plakate 1991


X30698

Brenn Punkt 2. 1970 - 1991. Kunstmuseum Düsseldorf. 1991


X30699

Beuys: Manresa. Kunst-Station Sankt Peter 1991


X30700

Beuys: Plakate. Bayerische Staatsbibliothek, Munich 1991


X30701

Joseph Beuys: A Private Collection. Stadthaus Klagenfurt, Theatreplatz 3, Künstlerhaus, Goethepark 1. 1991


X30702

Joseph Beuys: Zeichnungen und Wasserfarbenblätter. Dortmunder Kunstverein 1991


X30703

Joseph Beuys: Element 1. Manresa Photo Documentary 1992





































































AR00820

Humboldt. Inter Nationes Bonn 1992


X30580

Joseph Beuys: Kultur Kalender 1992


X30584

Joseph Beuys: Transit. Kaiser Wilhelm Museum 1992


X30589

Berlinische Gallery 1992


X30590

BONC 1992


X30645

Der Beuys-Raum wurde. Neue Gallerie. Staatliche Museen Kassel 1992


X30646

Kunst Museum, Bonn 1992


X30648

Kunst Museum, Bonn 1992


X30649

Tip Magazine. Das Magazine Für Alternative Kultur 1992


X30666

Das Ist Noch Nicht Gegessen. Bild-Kunst, Bonn 1992


X30668

Trismegisto. Lucio Amelio, Naples 1993


AR00808

Joseph Beuys: Aprovechar a las Animas. Museu de Arte Contemporaneo de Sevilla 1993


X30493

Joseph Beuys: Hessische Kultur Stiftung circa 1998


X30554

Joseph Beuys. Eine Aktion in Darmstadt 1967. Hessisches Landesmusuem 1993


X30566

Haupstrom Jupiter, Beuys und die antike. Kassel 1993


X30567

Beuys. Art Collection, Weimar 1993


X30568

Joseph Beuys. Museum for Culture, Rendsburg 1993


X30569

Hauptstrom Jupiter. Beuys und die antike. Munich 1993


X30570

Jahre Capital - Kunstkompass Galerie Denise René 1993


X30591

Joseph Beuys. Stadtgallerie Elbeforum Brunsbuttel 1993


X30647

Video Opera. Beuys Paik Duet +10. Seibu Museum of Art, Sogetsu, Tokyo 1994


X30463

Joseph Beuys: Projekt Westmensch. Museum für Gegenwartskunst 1994


X30510

Joseph Beuys: Arena. Hamburger Kunsthalle 1994


X30512

Kúnst=Kapital 1994


X30613

Joseph Beuys: The revolution is us. Tate Gallery Liverpool 1994


X30615

Joseph Beuys. Man, Nature, Cosmos. Museum of Modern Art Passau 1994


X30624

Joseph Beuys: Arena. Museum für Gegenwartskunst, Basel 1994


X30725

Revolution: Art of the Sixties from Warhol to Beuys. Museum of Contemporary Art Tokyo 1995


X30461

Considering Joseph Beuys. The New School 1995


X30464

Joseph Beuys: Aus dem graphischen Werk. Overbeck Gesellschaft 1995


X30466

Joseph Beuys: Films and Videos. New School for Social Research and Thread Waxing Space 1995


X30563

'45 ff '. Düsseldorf 1995


X30564

Programm forum claque Herbst-Winter 1995-6

Poster on paper support: 837 x 340 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

X30583

Joseph Beuys: Multiples. Graphik. Plakate. Bücher. Kolvenburg, Billerbeck 1995


X30593

Joseph Beuys: Die spate Druckgraphick. Liechtensteinische Art Collection, Vaduz 1996


X30439

Joseph Beuys: In Memoriam. Stromwächter - Mündungswächter, Cuxhaven 1996


X30465

Joseph Beuys: Manresa. Fotos einer FLUXUS-Demonstration von 1966. Hessisches Landemuseum Darmstadt 1996


X30558

Joseph Beuys. Kahl Rahner Akademie 1996


X30559

Conzert Coyote III. Konzertkasse Heinersdorff 1996


X30561

Joseph Beuys: hessisches landesmuseum darmstadt, block beuys, hessisches kultur stiftung. Berlin 1996


X30562

Joseph Beuys: Kleine Tekeningen. Van Reekum Museum Apeldoorn 1996


X30592

Joseph Beuys: Kleine Zeichnungen. Städtische Galerie Karlsruhe 1997


X30560

In Offener Form. Museum Badst 1997


X30655

Joseph Beuys: Haltestellen. Museum Für Gegenwartskunst, Basel 1998


AR00824

Joseph Beuys: Wasserfarben. Städtische Galerie 1998


X30555

Stefan Moses. Galerie Bartsch and Chariau 1998


X30556

Joseph Beuys: Posters 1998


X30557

Joseph Beuys: Manresa. Photo exhibition for the Action. Caritas-Pirckheimer House Nuremberg 1998


X30625

Wort und Weise: Exemplariches aus der Sammlung Reiner Speck 1999


X30551

Drawings: The Secret Block for a Secret Person in Ireland. Royal Academy of Arts 1999


X30612

Joseph Beuys: Partituren Zeichnungen Multiples. Galerie Jan Wagner 1999


X30642

das xx. jahrhundert ein jahrhundert kunst in Deutschland. Stadtraum, Berlin 1999-2000


X30695

Joseph Beuys: Multiples. 1999


X30722

Art For Life's Sake. Kawamura Memorial Museum of Art 2000


X30453

Heraus - Forderung Tier. Städtische Galerie, Karlsruhe 2000


X30481

Joseph Beuys: Die Sammlung Staeck. Städtische Galerie, Wolfsburg 2000


X30489

Joseph Beuys: Ein Monument für die Zukunft. Museum Kurhaus Kleve 2000


X30490

Joseph Beuys: Posrcards. Museum for Post and Communication, Nuremberg 2000


X30552

Joseph Beuys: Kleine Zeichnungen. Museum Schloss Moyland 2000


X30553

Beuys. Applied Arts / Contemporary Arts. Mak-Ausstellungshalle 2000


X30697

'Hommage à Joseph Beuys'. University and Landesbibliothek Düsseldorf 2001


AR00809

Joseph Beuys: 'Pflanze, Tier und Mensch'. Städtische Galerie, Villingen-Schwenningen 2001


X30488

Joseph Beuys: The Secret Block for the Secret Person in Ireland. Kunsthalle Tübingen 2001


X30696

Joseph Beuys, Ewald Matare and Eight Cologne Artists. Museum Schloss Moyland 2002


X30509

Künstlerplakate 2002. Weingarten 2002


X30596

Revolution: Art of the Sixties from Warhol to Beuys. Museum of Contemporary Art, Tokyo 2005


X30437

Joseph Beuys: Róslina, zwierze i cztowiek. Muzeum Górnoslaskie w Bytomiu 2005


X30449

Joseph Beuys: Posters. Hermann Voith Gallery 2005

Poster on paper image: 780 x 387 mm






































































X30571

Joseph Beuys. Malkastenpark, Düsseldorf 2005

Poster on paper image: 418 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

X30621

Joseph Beuys. Malkastenpark, Düsseldorf 2005


X30622

Joseph Beuys. Galerie Heinz Holtmann 2005


X30623

Joseph Beuys: Actions, Vitrines, Environments. The Menil Collection 2005


X30635

J Beuys: Difesa della natura. Venice Biennale 2007 2007


X30614

Joseph Beuys. Hessisches Landesmuseum Darmstadt 2009


X30502

Conversation Pieces: With Beuys at his studio. Richard Demarco Gallery, Edinburgh


AR00705

So can the party dictatorship be overcome!

So kann die Parteiendiktatur überwunden werden! Poster on paper image: 583 x 410 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00708

working title: Joseph Beuys a candidate for the Independent German party


AR00710

working title: Ja/Nein


AR00711

A Call to Action


AR00729

Coyote


AR00733

Joseph Beuys. The Solomon R. Guggenheim Museum, New York


AR00734

Tate Gallery actions Seven exhibitions


AR00735

Joseph Beuys Neue Objekte.


AR00742

Free International University. Podium Discussion with Joseph Beuys


AR00787

Joseph Beuys: Was ist Kunst? Rathaus, Sitzungssaal


AR00789

'hinter dem Knochen wird gezählt SCHMERZRAUM'


AR00818

Joseph Beuys: Vertrieben


AR00832

Beuys, Miami-Dade Community College


AR00835

'Wanted. Child Molester'


AR00839

A lecture by Joseph Beuys. Kettle's Yard Gallery, Cambridge


AR00842

Untitled


AR00844

Düsseldorfer Szene. Kunstmuseum Luzern


X30431

Kunsthaus Roosevelt. Baden-Baden


X30438

Negativ - Kartei - Nr.


X30457

'Lecture by Joseph Beuys at the V&A, 7 September at 3.30'


X30458

Joseph Beuys: Tramstop


X30459

Joseph Beuys: am telefon


X30467

Vent'anni con Beuys. Lucio Amelio, Naples


X30469

Arena


X30472

'Die zeit der politischen Parteien ist vorbei'


X30473

Klasse Prof. Beuys


X30474

Magazin KUNST


X30475

Joseph Beuys: Mensch, Du hast die Kraft zu Deiner Selbstbestimmung


X30501

80 Jahre Joseph Beuys


X30508

Joseph Beuys: Zeichnungen 1946 - 1971. Museum Haus Lange Krefeld


X30527

Beuys und Leonardo. Munich


X30565

Beuys: Multiples and Zeichnungen. Galerie Schellmann


X30585

Joseph Beuys: Marx Collection in Hamburg, Gegenwart Museum, Berlin


X30587

Liste 4. With Beuys in opposition to …


X30627

Wie wird Kunst zur Produktivkraft für die Gesellschaft? Forum 3, Kassel


X30629

Borealis - Partitur - J. Beuys. Gallery Jan Wagner, Berlin


X30633

Die Grünen: 'Kultur in Der Grosstadt'


X30662

Joseph Beuys. Zeichnungen Kunsthalle Bielefeld 1980


X30667

Joseph Beuys. Bonn braucht Kunst Halle


X30678

Getlinger Photographiert Beuys 1950 - 63.


X30707

Hallen für Neue Kunst


X30726

Simon Bill born 1958


Fairy Face 2008

Screen-print on paper image: 361 x 303 mm number 19 in an edition of 60 P79377

Black Audio Film Collective (John Akomfrah; Reece Auguis; Edward George; Lina Gopaul; Avril Johnson; David Lawson; Trevor Mathison) 1982-98 born 1958; born 1958; born1963; born 1959; born 1958; born 1962; born 1960

Expeditions One: Signs of Empire 1983

Single screen projection, 35mm Kodak tape slide transferred to DVD, audio track duration: 22min number 1 in an edition of 6 Purchased from Smoking Dog Films, London with funds provided by Tate Members 2008 T12863

Expeditions Two: Images of Nationality 1984

Single screen projection, 35mm Kodak tape slide transferred to DVD, audio track duration: 22min number 1 in an edition of 6 Purchased from Smoking Dog Films, London with funds provided by Tate Members 2008 T12864

Handsworth Songs 1986

Single screen projection, 16mm colour film transferred to DVD, audio track duration: 59min number 1 in an edition of 6 Purchased from Smoking Dog Films, London with funds provided by Tate Members 2008 T12862

Peter Blake born 1932


I may not be a Ruralist anymore, but this morning I saw a fairy in my garden in Chiswick 2008

Giclee and screen-print on paper image: 360 x 300 mm number 19 in an edition of 60 P79380

Mel Bochner born 1940

Language is not transparent 1969

Rubber stamp on graph paper support: 247 x 178 mm Presented anonymously 2009 T12893

James Boswell 1906-1971

Le Sphinx 1939

Pen and ink on paper unconfirmed: 432 x 330 mm Presented by Ruth Boswell 2008 T12839

Le Sphinx 1939


Le Sphinx 1939


Le Sphinx 1939


Le Sphinx 1939


Grand Reunion Days 1956

Oil on canvas unconfirmed: 737 x 1016 mm Presented by Ruth Boswell 2008 T12840

Another Day 1956

Oil on board unconfirmed: 1016 x 737 mm Presented by Ruth Boswell 2008 T12841

Gerald Leslie Brockhurst 1890-1978

Portrait of Margaret, Duchess of Argyll circa 1931

Oil on canvas support: 762 x 641 x 20 mm Purchased from The Fine Art Society with funds provided by Tate Patrons 2009 Image © Richard Woodward T12796

Pablo Bronstein born 1977

Erecting of the Paternoster Square Column 2008

Ink and ink wash pencil on paper in artist's frame support: 2220 x 1500 mm Purchased from Herald Street, London with funds provided by Tate Patrons 2009 Image © Pablo Bronstein T12782

Jo Bruton born 1967

E3 4RR Purchased from Matt's Gallery, London 2008 P79359-P79373

Capitaine Can Can 2007

Silkscreen on Virtual Pearl 120gsm paper image: 198 x 597 mm number 10 in an edition of 25 Image © Jo Bruton, courtesy Matt's Gallery, London P79359

Chris Burden born 1946

Airplane Factory Page #1 1998

Graphite on light weight white paper frame: 608 x 738 x 45 mm Purchased from Galerie Krinzinger, Vienna 2008 T12792







Gerard Byrne born 1969

1984 and Beyond 2005-7

3 single channel high-definition video on LDC screens, 20 black and white photographs on paper duration: 26min, 15sec (Video channel 1of3) duration: 36min, 39sec (Video channel 2of3) duration: 38min, 48sec (Video channel 3of3) image, each: 460 x 390 mm Overall display dimensions variable number 4 from an edition of 4 Purchased from Lisson Gallery, London with funds provided by Tate Patrons 2009 T12850

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Ellen Cantor born 1963


share it with me 2008

Lithograph on paper unconfirmed: 360 x 300 mm number 19 in an edition of 60 P79383

Gillian Carnegie born 1971

rsXXII-/8-7








































































2007

Oil on primed hardboard panel support: 230 x 331 x 24 mm Purchased from Cabinet Gallery, London with funds provided by Evelyn, Lady Downshire's Trust Fund 2009 Image © Gillian Carnegie T12780

Nathan Carter born 1970

Attention Archangel Radio Free Dunkirk is Reporting a Scotch Mist All Risks Apply 2003

MDF, wood, hot metal glue, acrylic paint, wax crayon, pencil and steel screws object: 2670 x 2882 x 62 mm Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 Image © Nathan Carter, Courtesy the Casey Kaplan Gallery, New York T12902

Faeroes Southeast Iceland Gale 8 Occasionally Severe Gale 9 Epic Problem on Radio 4 2003-4

MDF, wood, hot melt glue, acrylic paint, pencil and steel screws object: 1975 x 2630 x 110 mm Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 T12903

Vija Celmins born 1938

Untitled (Desert-Galaxy) 1974

Graphite on acrylic ground on paper support: 442 x 956 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00162

Untitled Portfolio: Galaxy 1975

Five-colour lithograph on Twinrocker Handmade Rag paper image: 317 x 417 mm artist's proof aside from the edition of 75 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00605

Drypoint - Ocean Surface 1983

One-colour drypoint on Arches Satine paper (first state) image: 186 x 239 mm support: 660 x 510 mm number 3 of 12 artist's proof aside from the edition of 75 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00467

Jupiter Moon - Constellation 1983

Three-colour mezzotint and etching on Fabriono Rosapina paper support: 600 x 472 mm image (upper): 146 x 193 mm image (lower): 125 x 185 mm number 4 of 12 artist's proofs aside from the edition of 48 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00481

Constellation - Uccello 1983

Four-colour acquatint and etching on Fabriano Rosapina paper support: 691 x 585 mm number 28 in an edition of 49 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00606

Concentric Bearings A 1984

Two-colour acquatint, photogravure and drypoint on Rives BFK paper support: 608 x 468 mm number 5 of 6 artist's proofs aside from an edition of 34 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00469

Concentric Bearings B 1984

Two-colour aquatint, drypoint and mezzotint on Rives BFK paper support: 440 x 368 mm image (left): 125 x 110 mm image (right): 119 x 94 mm number 1 of six artist's proofs aside from the edition of 35 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00482

Concentric Bearings C 1984

Three-colour aquatint, drypoint and mezzotint on Rives BFK paper support: 513 x 511 mm image (left): 125 x 110 mm image (centre): 118 x 93 mm image (right): 207 x 136 mm number 3 of 6 artist's proofs aside from the edition of 34 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00483

December 1984 1985

One-colour mezzotint on Rives BFK paper support: 747 x 575 mm image: 407 x 388 mm number 3 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00468

Concentric Bearings D 1985

Three-colour mezzotint, aquatint, drypoint and photogravure on Rives BFK paper support: 457 x 567 mm number 2 in an edition of 34 plus artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00470

Mount Holyoke 1987

Etching on paper image: 193 x 247 mm number 12 of 12 artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00471

Ocean Surface Woodcut 1992 1992

Woodcut on Whatman 1953 paper support: 492 x 391 mm image: 224 x 304 mm number 9 of 10 artist's proofs aside from the edition of 80 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00484

Night Sky Woodcut 1997

Woodcut printed on Kozo-Gampi paper mounted on Fabriano Tiepolo paper support (primary): 225 x 249 mm support (secondary): 447 x 317 mm image: 220 x 245 mm number 9 of 20 artist's proofs aside from the edition of 30 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00480

Night Sky #19 1998

Charcoal on coated paper support: 570 x 673 mm image: 459 x 565 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00163

Web #1 1999

Charcoal on paper support: 565 x 649 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00164

Untitled (Source Materials) 1999

Iris print image: 357 x 309 mm number 76 in an edition of 100 plus artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00472

Ocean Surface Wood Engraving 2000 2000

Wood engraving on Zerkall paper image: 207 x 257 mm number 54 in an edition of 75 plus artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00473

Untitled (Web 1) 2001

Mezzotint on Hahnemühle Copperplate paper image: 175 x 194 mm number 15 of 15 artist's proofs aside from an edition of 80 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00476


Mezzotint on Hahnemühle Copperplate paper image: 177 x 194 mm number 7 in an edition of 50 plus 10 artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00477

Night Sky 1 Reversed 2002

Three-colour photoetching, aquatint, photogravure and drypoint on Hahnemühle Copperplate paper image: 392 x 485 mm number 34 in an edition of 65 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00474

Night Sky 2 Reversed 2002

Three-colour photoetching, aquatint, photogravure and drypoint on Hahnemühle Copperplate paper image: 387 x 480 mm number 34 in an edition of 65 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00475


One-colour aquatint with burnishing, scraping and drypoint on Hahnemühle Copperplate paper image: 380 x 482 mm number 34 in an edition of 65 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00478


One-colour photogravure with burnishing, scraping and drypoint on Hahnemühle Copperplate paper image: 389 x 482 mm number 34 in an edition of 65 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00479

Night Sky 3 2002

One-colour aquatint with burnishing and drypoint on Hahnemühle Copperplate paper support: 504 x 605 mm image: 372 x 471 mm number 5 of 9 studio proofs aside from the edition of 65 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Vija Celmins

AR00485

Raimond Chaves born 1963

The Creole Touch 2002

El Toque Criollo 84 vinyl records and sleeves Overall display dimensions variable unique Purchased with funds provided by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2009 T12922

Spartacus Chetwynd born 1973


Bat Opera 33 2008

Lithograph on paper image: 245 x 330 mm number 19 in an edition of 60 P79375

Sir George Clausen 1852-1944

The Farmer's Boy 1895

Oil on canvas frame: 759 x 554 mm Presented by Arthur and Helen Grogan through The Art Fund 2009 T12867

Harold Cohen born 1928

Vigil Completed 1966

Acrylic on unprimed cotton duck support: 2580 x 4407 x 54 mm Purchased from Bernard Jacobson Gallery, London with funds provided by the Knapping Fund 2009 Image © Harold Cohen T12806

Anne Collier born 1970

Surviving Depression 2007

C-type print on paper cold mounted onto panel frame: 1875 x 1300 x 50 mm number 1 in an edition of 5 plus 2 artist's proofs Purchased with assistance from the American Fund for the Tate gallery with funds provided by Randy Slifka 2008 P79791

Mat Collishaw born 1966


Duty Free Spirits 2008

Black and white platinum print on paper image: 130 x 175 mm number 19 in an edition of 60 Image © Mat Collishaw P79378

Nigel Cooke born 1973

New Accursed Art Club 2007

Oil and resin on canvas support: 2202 x 3702 mm Purchased from Stuart Shave Modern Art with the assistance of private donors and the Milwood Legacy 2009 Image © Nigel Cooke T12820

Michael Craig-Martin born 1941

Envy 2008

Screenprint on off-white wove paper image: 610 x 1067 mm One of 5 artist's proofs aside from the edition of 30 plus 1 printer's proof Presented by the artist and Alan Cristea Gallery 2009 Image © Michael Craig-Martin P79756

Greed 2008


Sloth 2008


Lust 2008


Pride 2008


Gluttony 2008


Anger 2008


Martin Creed born 1968

Work No. 203: EVERYTHING IS GOING TO BE ALRIGHT 1999

Neon object: 500 x 13000 mm Purchased from Hauser and Wirth, London with funds provided by Tate Patrons 2009 Image © Martin Creed T12799

Fiona Crisp born 1966


Norwegian series #3 2007

Archival digital inkjet on Innova Smooth Cotton natural white 315gsm paper image: 297 x 420 mm number 10 in an edition of 25 Image © Fiona Crisp, courtesy Matt's Gallery, London P79360

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Dexter Dalwood born 1960


Cinderella 2008

Lithograph on paper image: 300 x 240 mm number 19 in an edition of 60 Image © Dexter Dalwood, courtesy Gagosian Gallery, London P79381

Adam Dant born 1967


Bogeyman 2008

Etching with hand drawing image: 349 x 289 mm number 19 in an edition of 60 P79384

Enrico David born 1966

The House of Fairy Tales Purchased from The House of Fairy Tales, London, with assistance from Anne Best 2008














































P79374-P79395

Costume Design 2008

Silkscreen on paper image: 360 x 300 mm number 19 in an edition of 60 P79376

Tacita Dean born 1965

A Bag of Air 1995

Single screen projection, 16 mm black and white film, sound duration: 3min number 1 in an edition of 3 Acquired by purchase and by gift from Erik Franck 2009 T12920

Majesty 2006

Gouache on black and white photograph on fibre-based paper mounted on paper support: 3000 x 4200 mm Purchased from Frith Street Gallery, London with funds provided by Tate Members 2008 Image © Tacita Dean, courtesy Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris T12805

Michael Hamburger 2007

Single screen projection, 16mm colour film, sound duration: 28min number 1 in an edition of 4 Presented by the artist and Jane Hamlyn, Frith Street Gallery, London 2008 T12880

Jeremy Deller born 1966

The History of the World 1997-2004

HB pencil and matt acrylic paint on wall Overall display dimensions variable number 3 in an edition of 3 Presented by The Cranford Collection 2008 T12868

Jeremy Deller born 1966

Alan Kane born 1961


Mari's Taxi 2008

Colour C-type print on paper image: 158 x 240 mm number 19 in an edition of 60 P79379

Erik Dietman 1937 - 2002

The Turkish Proverb 1998

Le Proverbe Turc Bronze and wax candles Overall display dimensions variable number 1 in an edition of 2 plus 1 artist's proof Presented by Jannick Thiroux and family, Paris 2009 T12875

Braco Dimitrijevic born 1948

Resurrection of Alchemists 2006

Single-channel colour video with sound duration: 2min number 3 in an edition of 10 Presented anonymously 2009 T12866

Willie Doherty born 1959


Non Specific Threat (Production Still) 2003 2007

Colour ultrachrome print on Ilford Galerie, smooth gloss 290gsm paper image: 220 x 277 mm number 10 in an edition of 25 Image © Willie Doherty P79361

Sam Durant born 1961

Abandoned House #1 (Case Study #22) 1995

Foam core, cardboard, Plexiglas, tape, spray enamel, wood and metal object: 780 x 1080 x 810 mm Presented by the American Fund for the Tate Gallery, courtesy of Dean Valentine and Amy Adelson 2009 Image © Sam Durant T12904

Jimmie Durham born 1940


Our House 2007

Dry Point on Copperplate on Hahnemule Etching 300gsm white paper image: 215 x 345 mm number 10 in an edition of 25 Image © Jimmie Durham P79362

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Simon English born 1959


Sugar Plum Fairy 2008

Etching, chine colle and hand colouring on paper image: 362 x 303 mm number 19 in an edition of 60 P79382

Angus Fairhurst 1966-2008

Over Mont Blanc, All Evidence of Man Removed 1993

Colour postcard with abrasion support: 105 x 148 mm Presented by Charles Asprey 2008 T12870

Stenness, All Evidence of Man Removed 1993

Colour postcard with abrasion support: 105 x 148 mm Presented by Charles Asprey, 2008 T12871

Swissair, All Evidence of Man Removed 1993

Colour postcard with abrasion support: 105 x 148 mm Presented by Charles Asprey 2008 T12872

Untitled (Orca Yearning Seats) 1994

Graphite, crayon and collage on light weight white wove paper support: 461 x 760 mm Presented by Charles Asprey 2008 T12869

Orca Watercolour Drilled Loop 1995

Watercolour, varnish and graphite on heavy weight white wove paper with multiple pin holes support: 420 x 297 mm Presented by Charles Asprey 2008 T12873

When I woke up in the morning, the feeling was still there 1 1997

Screenprint on paper unconfirmed: 878 x 663 mm number 5 in an edition of 45 Presented by Charles Booth-Clibborn 2008 Image © The estate of Angus Fairhurst P13078







Léon Ferrari born 1920

Tower of Babel 1963

Torre de Babel Steel, copper wire, bronze, tin and lead object: 2000 x 800 x 800 mm Presented by the American Fund for the Tate Gallery 2009 T12909

We Did Not Know Nosotros no sabíamos Presented by Alicia and León Ferrari 2008 unlimited P79610-P79691

[no title] 1976-7, enlarged version 2007

Colour print on paper support: 420 x 297 mm unlimited Image © Leon Ferrari P79610
















Colour print on paper support: 420 x 297 mm unlimited P79618


































































































































































Colour print on paper unconfirmed: 420 x 297 mm unlimited P79673





































Floor plan 1980, 2007

Planta Magenta blueprint on paper unconfirmed: 960 x 960 mm unlimited Presented by Alicia and León Ferrari 2008 P79701

Road 1980, 2008

Rua Magenta blueprint on paper unconfirmed: 105 x 2800 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79702

Neighbourhood 1980, 2007

Bairro Magenta blueprint on paper unconfirmed: 1100 x 2400 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79703

Southern Motorway 1980, 2007

Autopista del Sur Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 P79704

City 1980, 2007

Cidade Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79705

Spectators 1981, 2007

Espectadores Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79696

Reciprocal Spectators 1981, 2007

Espectadores Recíprocos Magenta blueprint on paper unconfirmed: 800 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79697

Study 1981, 2007

Estudo Magenta blueprint on paper unconfirmed: 930 x 930 mm unlimited Presented by Alicia and León Ferrari 2008 P79699

Footbridge 1981, 2007

Passarela Magenta blueprint on paper unconfirmed: 1070 x 1040 mm unlimited Presented by Alicia and León Ferrari 2008 P79700

Roundabout I 1981, 2007

Rond Point I Magenta blueprint on paper unconfirmed: 910 x 910 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79707

Roundabout II 1981, 2007

Rond Point II Magenta blueprint on paper unconfirmed: 930 x 900 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79708

Footbridges circa 1981, 2007

Passarelas Magenta blueprint on paper unconfirmed: 780 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79718

Crossing 1982, 2007

Cruzamento Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008



























































Image © Leon Ferrari P79695

Board 1982, 2007

Tabuleiro Magenta blueprint on paper unconfirmed: 1060 x 1060 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79698

Toilet 1982, 2007

Toilette Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79706

Project 1982, 2007

Projeto Magenta blueprint on paper unconfirmed: 770 x 770 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79709

Writing circa 1982, 2007

Escritura Magenta blueprint on paper unconfirmed: 1800 x 1100 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79710

People circa 1982, 2007

Gente Magenta blueprint on paper unconfirmed: 1030 x 1030 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79711

Square circa 1982, 2007

Cuadrado Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79713

Spiral circa 1982, 2007

Espiral Magenta blueprint on paper unconfirmed: 600 x 600 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79714

Stair circa 1982, 2007

Escalera Magenta blueprint on paper unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79715

Paths 1982, 2007

Caminos Magenta blueprint on paper unconfirmed: 680 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79716

Beds circa 1982, 2007

Camas Magenta blueprint on paper unconfirmed: 950 x 1130 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79717

Destiny circa 1982, 2007

Destino Magenta blueprint on paper unconfirmed: 700 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79719

Crossroads circa 1983, 2007

Cruce Magenta blueprint on paper unconfirmed: 1000 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79694

Tables circa 1983, 2007

Mesas Magenta blueprint on paper unconfirmed: 750 x 700 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79712

Untitled 1986, 2007

Sin Título Magenta blueprint on paper unconfirmed: 700 x 1000 mm unlimited Presented by Alicia and León Ferrari 2008 Image © Leon Ferrari P79693

Never Again Nunca Más Presented by Alicia and León Ferrari 2008 number 9 in an edition of 50 P79517-P79562

'The Deluge' by Doré, 1860 + Military Junta (Photo: Public Records Office) 1995-6, 2007

'Diluvio' de Doré, 1860 + Junta Militar (Foto: Secretaría de Información Pública) Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79517

Cardinal Antonio Quarracino (Photo: Tony Valdez) + Jorge Videla 1995-6, 2007

Cardenal Antonio Quarracino (Foto: Tony Valdez) + Jorge Videla Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79518

Flag of the 'Frigate Libertad', 1995 + Silhouette of a 'Disappeared' Person (Photo: Guillermo Kexel, 1983) 1995-6, 2007

Bandera de la Fragata Libertad, 1995 + Silueta de desaparecido (Foto: Guillermo Kexel, 1983) Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79519

Martínez de Hoz (Photo: ILA Agency, 29/4/88) + Boots (Photo: Alejandro Elías) 1995-6, 2007

Martínez de Hoz (Foto: Agencia ILA, 29/4/88) + Botas (Foto: Alejandro Elías) Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79520

Military College (Photo: Jorge Saenz) + Nazi Insignia + 'Trumpet of the Apocalypse', Anonymous Engraving from the Wittenberg Bible, 1535 1995-6, 2007

Colegio militar (Foto: Jorge Saenz) + Insignia Nazi + 'Trompeta apocalíptica', grabado anónimo de la Biblia Wittenberg, 1535 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79522

The Army Mechanical School + Detail of 'The Last Judgment' by Memling 1995-6, 2007

Escuela de Mecánica de la Armada + Detalle del 'Juicio Final' de Memling Colour print on paper number 13 in an edition of 50 Image © Leon Ferrari P79523

Alfredo Astiz (Photo: AFP, file Grinberg) + Drawing by Leonardo da Vinci, 1489 1995-6, 2007

8 Alfredo Astiz (foto AFP, file Grinberg) + Dibujo de Leonardo da Vinci, 1489 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79524

Buenos Aires Court Palace + 'Devil with Witch', engraving from the book 'Nuremberg Chronicles', 15th Century 1995-6, 2007

Palacio de los Tribunales de Buenos Aires + 'Diablo con bruja', grabado del libro 'Cronicas de Nuremberg', siglo XV Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79525

'Hell', Drawing by Yaparí, Guaraní Aborigine + Set of Scales 1995-6, 2007

'Infierno', dibujo de Yaparí, aborigen guaraní + Balanza de dos platillos Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79526

'The Disasters of War', Goya, 1810 + 'The Apocalypse of St John', Dürer, c. 1500 1995-6, 2007

'Los desastres de la guerra', Goya, 1810 + 'San Juan apocalíptico', Durero, c. 1500 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79527

'The Four Avenging Angels of Euphrates', Dürer, c. 1500 + 'The Departure of the Warrior', by Amo Broker, Sculptor from the Third Reich, c. 1939 1995-6, 2007

'Los cuatro ángeles del Éufrates', Durero, c. 1500 + 'La partida del guerrero', de Amo Broker, escultor del III Reich, c. 1939 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79528

Entrance to the Naval Headquarters + 'Vulture', Engraving from the Nouveau Larousse Illustré, c. 1900 1995-6, 2007

Portal de ingreso al Centro Naval + 'Buitre', grabado del Nouveau Laurousse Illustré c. 1900 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79529

'The Statue of Liberty' by Dubourdieu + 'Demons Torturing Sorceresses' by Thomas Darling, 1597 1995-6, 2007

'La estatua de la Libertad' de Dubourdieu + 'Demonios torturando brujas' de Thomas Darling, 1597 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79530

Nuncio Monsignor Calabresi, Cardinal Aramburu, Viola, Lambruschini and Galtieri (Photo: Loiácono) + 'Banner of the Spanish Inquisition', Etching by Bembard Picart 1995-6, 2007

El nuncio Monseñor Calabresi, el cardenal Aramburu, Viola, Lambruschini y Galtieri (Foto: Loiácono) + 'Estandarte de la Inquisición española', aguafuerte de Bembard Picart Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79531

Videla, Massera, Agosti and Cardinal Aramburu (Photo: Loiácono) + 'Dante's Inferno' by Doré, 1860 1995-6, 2007

Videla, Massera, Agosti y el cardenal Aramburu (Foto: Loiácono) + 'Infierno del Dante', Doré, 1860 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79532

Nuncio Monsignor Calabresi with Galtieri (Photo: NA) + 'The Lady of the Witches' Sabbath' from 'Histoire de la Magie' by P. Christian, Paris 1870 1995-6, 2007

Nuncio Monseñor Calabresi con Galtieri (Foto: NA) + 'La dama del aquelarre', de 'Histoire de la magie' de P. Christian, Paris 1870 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79533

Lieutenant Antonio Pernía (Photo: M. Cuchi) + Engraving from the Book 'Enchiridion' by Joost Damhourdert, 1554 1995-6, 2007

Teniente Antonio Pernía (Foto: M. Cuchi) + Grabado del libro 'Enchiridion' de Joost Damhourdert, 1554 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79534

Attack Against the AMIA (Photo: Tony Valdez) + 'Never Again', p. 48 1995-6, 2007

Atentado a la AMIA (Foto: Tony Valdez) + 'Nunca Más', pág. 48 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79535

Videla, Massera and Agosti with Monsignor Tortolo, Vicar of the Armed Forces (Photo: A. Kacero) + 'The Last Judgment' by Giotto, Capella degli Scrovegni, Padua 1306 1995-6, 2007

Videla, Massera y Agosti con Monseñor Tortolo, Vicario de las FFAA (Foto: A. Kacero) + 'Juicio Final' del Giotto, Capella degli Scrovegni, Padua 1306 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79536

Monument to the Fallen in the Malvinas + F. Galtieri, Jorge Videla and Lambruschini (Photo: Public Records Office) 1995-6, 2007

Monumento a los caídos en las Malvinas + F. Galtieri, Jorge Videla y Lambruschini (Foto: Secretaría de Informaciones Públicas) Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79537

Third Reich Concentration Camp + Emblem of the Armed Forces 1995-6, 2007

Campo de concentración del III Reich + Emblema de las FFAA Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79538

Logo of the Municipality of Buenos Aires + 'Witches' by Goya 1995-6, 2007

Logotipo de la Municipalidad de Buenos Aires + 'Brujas' de Goya Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79539

Videla, Massera and Agosti + 'Clarín' 21/8/76 1995-6, 2007

Videla, Massera y Agosti + 'Clarín' 21/8/76 Colour print on paper number 13 in an edition of 50 Image © Leon Ferrari P79540

'Infernal Tortures' from the Book 'Grant Kalendrier des Bergieres' + Officer Saluting (Photo: Tony Valdez) 1995-6, 2007

'Torturas infernales' del libro 'Grant Kalendrier des Bergieres' + Oficial haciendo la venia (Foto: Tony Valdez) Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79541

Engraving by Jan Luy Ken from the Series 'Religious Persecutions', 17th Century + Photograph of the Police Doctor Jorge Bergés + 'Never Again', p. 139 1995-6, 2007

Grabado de Jan Luy Ken de la Serie 'Persecuciones religiosas', siglo XVII + fotografía del médico policial Jorge Bergés + 'Nunca Más', pág. 139 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79543

Souvenir Ashtray from the Frigate 'Libertad' + Article from 'La Opinión' 25/5/76 1995-6, 2007

Cenicero de recuerdo de la Fragata Libertad + noticia de 'La Opinión' 25/5/76 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79544

Hitler Greets the Catholic Abbot Schachteitner and Muller, Reich Bishop + Jorge Videla Greets Cardinal Aramburu 1995-6, 2007

Hitler saluda al abad católico Schachteitner y al primado evangélico Muller + Jorge Videla saluda al cardenal Aramburu Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79545

Entrance to the Military Headquarters + Military Decoration from the Third Reich 1995-6, 2007

Ingreso al Círculo Militar + Condecoración de III Reich Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79546

'The Inferno' by P. de Limbourg + Jorge Videla and Cardinal Aramburu 1995-6, 2007

'El infierno' de P. de Limbourg + Jorge Videla y Cardenal Aramburu Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79547

Hitler with Children + Videla and Massera with Children 1995-6, 2007

Hitler con chicos + Videla y massera con chicos Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79548

Galtieri, Lambruschini and Graffigna in the Cathedral + Article from 'La Prensa' 1/7/76 1995-6, 2007

Galtieri, Lambruschini v Graffigna en la cathedral + Noticia en La Prensa del 1/7/76 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79549

Hitler with Christian Dignitaries + Galtieri, Lambruschini and Viola with Nuncio Calabresi and Cardinal Aramburu 1995-6, 2007

Hitler con dignatarios cristianos + Galtieri, Lambruschini y Viola con el nuncio Calabresi y el cardenal Aramburu Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79550

'Justice' by Rogelio Irurtia + 'The Seven Apocalyptical Trumpets' by Dürer 1995-6, 2007

'La Justicia' de Rogelio Irurtia + 'Las siete trompetas apocalípticas' de Durero Colour print on paper support: 420 x 297 mm number 13 in an edition of 50
















































Image © Leon Ferrari P79551

News Articles Published in 1976 1995-6, 2007

Algunas noticias publicadas en 1976 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79552

Scilingo's Account to Horacio Verbitsky + The Frigate 'Escuela Libertad' 1995-6, 2007

Relato de Scilingo a Horacio Verbitsky + Fragata Escuela Libertad Colour print on paper support: 297 x 420 mm number 13 in an edition of 50 Image © Leon Ferrari P79553

Giotto's 'Inferno' + Massera 1995-6, 2007

'Infierno' del Giotto + Massera Colour print on paper support: 297 x 420 mm number 13 in an edition of 50 Image © Leon Ferrari P79554

The Frigate 'Escuela Libertad' + Massera (Photo: Public Records Office) + Articles from the Newspapers 'La Razón' 6/9/76, 'La Opinión' 29/5 and 11/5/76 and 'La Prensa' 3/5/76 1995-6, 2007

Fragata Escuela Libertad + Massera (Foto: Secretaría de Informaciones Públicas) + Noticias de los diarios: 'La Razón' 6/9/76, 'La Opinión' 29/5 y 11/5/76 y 'La Prensa' 3/5/76 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79555

'The Deluge' by Doré + Army Officer's Cap 1995-6, 2007

'Diluvio' de Doré + Gorra de oficial de la Armada Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79556

Nuncio Pío Larghi Greets Massera, Videla and Agosti on 9/7/77 (Photo: Public Records Office) + El Nuncio Torregrossa greets Hitler 1995-6, 2007

El Nuncio Pío Larghi saluda a Massera, Videla y Agosti el 9/7/77 (Foto: Secretaría de Información Pública) + El Nuncio Torregrossa saluda a Hitler Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79557

'The Last Judgement' by Brueghel + Cross with Videla and Cardinal Quarracino 1995-6, 2007

'Juicio Final' de Brueghel + Cruz con Videla y el cardenal Quarracino Colour print on paper support: 297 x 420 mm number 13 in an edition of 50 Image © Leon Ferrari P79558

The Frigate 'Escuela Libertad' + Drawing by Leonardo da Vinci 1995-6, 2007

Fragata Escuela Libertad + Dibujo de Leonardo da Vinci Colour print on paper support: 297 x 420 mm number 13 in an edition of 50 Image © Leon Ferrari P79559

Buenos Aires Cathedral + 'Witches' Sabbath', Drawing from the Douce Collection, Bodleian Library, Oxford 1995-6, 2007

Catedral de Buenos Aires + 'Aquelarre', dibujo de la Colección Douce, Biblioteca Bodleian, Oxford Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79560

Hitler + The 'Casa Rosada' + Videla 1995-6, 2007

Hitler + Casa Rosada + Videla Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79561

Letters: Cuttings from Newspaper 'Página/12' 6/10/95 y 19/10/95 1995-6, 2007

Cartas: Recortes del diario 'Página/12' 6/10/95 y 19/10/95 Colour print on paper support: 420 x 297 mm number 13 in an edition of 50 Image © Leon Ferrari P79562

L'Osservatore Romano Presented by Alicia and León Ferrari 2008 number 3 in an edition of 50 P79565-P79607

[no title] 2001, reproduced 2007

Colour print on paper support: 420 x 297 mm unlimited edition Image © Leon Ferrari P79565









































































































































Barry Flanagan 1941-2009

2 space rope sculpture (gr 2 sp 60) 1967

Rope Overall display dimensions variable Purchased from Waddington Galleries, London with funds provided by an anonymous donor 2008 T12876

Ceal Floyer born 1968

Monochrome Till Receipt (White) 1999

Ink on paper image: 393 x 80 mm Purchased from Lisson Gallery, London 2009 T12894

Robert Frank born 1924

Mary holding Pablo while sitting on bench in garden circa 1951

Gelatin silver print on paper image: 223 x 342 mm Presented by Pierre Brahm 2008 P13075

Mary watering flowers with Andrea and Pablo circa 1955


Contact Sheet from The Americans 1955-6; printed 1970s

Gelatin silver print on paper image: 500 x 399 mm Presented by the artist 2009 P79744























Mary and Pablo in high grass circa 1956


Pablo holding flowers with a girl circa 1956


Andrea Fraser born 1965

Projection 2008

Two channel high-definition video projection, colour, with audio track each channel 40min number 1 in an edition of 5 plus 2 artist's proofs Purchased from Galerie Christian Nagel, Cologne with funds provided by the 2008 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2009 T12879

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Ellen Gallagher born 1965

Paper Cup 1996

Ink and paper on canvas support: 2135 x 1830 x 41 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00066

Untitled 1998

Oil and enamel on paper on canvas support: 3053 x 2444 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Ellen Gallagher

AR00067

Gego (Gertrud Goldschmidt) 1912-1994

Untitled circa 1977

Sin título Welded bronze object: 580 x 640 mm Presented by Luis Benshimol 2009 T12898

Gilbert & George born 1943, born 1942

George the Cunt and Gilbert the Shit 1969

Two unique vintage photographs in folder image, each: 305 x 234 mm object (folder): 374 x 314 mm object (magazine): 305 x 242 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00170

Fallen Leaves 1980

Photo-piece, 16 parts displayed: 2424 x 2020 x 23 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00171

CRUSADE 1980

Photo-piece, 16 parts displayed: 2664 x 2020 x 8 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gilbert & George

AR00172

Hunger 1982


AR00173

Thirst 1982


AR00174

Existers 1984

support, each: 2410 x 3510 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gilbert & George

AR00505

Family Tree 1991

Photo-piece, 18 parts support, each: 839 x 704 mm displayed: 2530 x 4260 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gilbert & George

AR00175

Faith Drop 1991


AR00176

Light Headed 1991

Photo-piece, 15 parts unconfirmed (displayed): 2535 x 3550 x 23 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gilbert & George

AR00504

Mario Garcia Torres born 1975

What Happens in Halifax Stays in Halifax (In 36 Slides) 2004-6

Single screen slide projection with 50 black and white slides on a loop, using 2 slide projectors and a synchronising, silent unconfirmed: 9 min, looped number 5 from an edition of 5 Purchased from Galerie Jan Mot, Brussels 2008 T12888

Fernanda Gomes born 1960

Untitled 2004

Sem título Wood, glass and cloves object: 820 x 1100 x 666 mm Purchased with funds provided by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 T12925

Untitled 2004

Sem título Wood and nails object: 650 x 750 x 35 mm Purchased with funds provided by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 T12926

Johan Grimonprez born 1962

Dial H-I-S-T-O-R-Y, Inflight 1997-2001

Colour video installation with DVD disc, folder, CD Rom and magazine Overall display dimensions variable number 23 in an edition of 35 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00085

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Richard Hamilton born 1922

Bathers (b) 1969

Dye-transfer paper mounted on board image: 388 x 539 mm number 47 in an edition of 75 plus 7 artist's proofs Presented by Klaus Anschel in memory of his wife Gerty 2008 Image © Richard Hamilton P79728

Vignette 1969

Dye-transfer paper mounted on board image: 593 x 494 mm number 5 in an edition of 50 plus 5 artist's proofs Presented by Klaus Anschel in memory of his wife Gerty 2008 Image © Richard Hamilton P79729

Putting on de Stijl 1979

Collotype in 6 colours and screenprint from 6 stencils on Ivorex paper image: 300 x 420 mm number 26 in an edition of 90 plus 9 artist's proofs Presented by Klaus Anschel in memory of his wife Gerty 2008 Image © Richard Hamilton P79730

Four Self Portraits - 05.3.81 1990

Oil and Humbrol enamel on cibachrome on canvas support, each: 755 x 754 x 32 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Richard Hamilton

AR00141

Ian Hamilton Finlay 1925-2006

Je Vous Salue Marat [collaboration with Julie Farthing] 1989

Neon light tubes unconfirmed: 910 x 1220 x 80 mm Presented by an anonymous donor 2008 Image © The estate of Ian Hamilton Finlay T12812

Sailing Dinghy 1996

Room installation comprising clinker-built boat, poem and wall texts displayed: 6200 x 4400 x 1400 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © The estate of Ian Hamilton Finlay

AR00021

Margaret Harrison born 1940

Son of Rob Roy 1971

Graphite on paper support: 318 x 259 mm Purchased from the artist 2008 Image © Margaret F. Harrison T12825

Dumped On 1971

Coloured crayon and graphite on white card support: 760 x 575 mm Purchased from the artist 2008 Image © Margaret F. Harrison T12826

Little Woman at Home 1971

Watercolour and graphite on medium-heavy weight white wove paper support: 636 x 518 mm Purchased from the artist 2008 Image © Margaret F. Harrison T12827

Banana Woman 1971

Watercolour, coloured pencil and graphite on medium-heavy weight white wove paper support: 518 x 637 mm Purchased from the artist 2008 Image © Margaret F. Harrison T12828

Jeppe Hein born 1974

Invisible Moving Wall 2001

Plywood, iron, metal, car battery, motor and wheels Overall display dimensions variable number 5 in an edition of 5 Purchased from Victoria Miro, London 2008 T12757

Arturo Herrera born 1959

Want 2007

Felt unconfirmed: 3500 x 1500 mm Presented by Thomas Dane 2009 T12884

Susan Hiller born 1940

E3 4RR Purchased 2008 P79359-P79373

The Fight 2007

Photo-etching and aquatint on copperplate on Hahnemühle Etching 300gsm white image: 206 x 280 mm number 10 in an edition of 25 Image © Susan Hiller P79363

Lubaina Himid born 1954

Ankledeep 1991

Acrylic on canvas support: 1524 x 1219 mm Presented by the artist 2009 T12885

Carpet 1992

Acrylic on canvas support: 1219 x 1524 mm Presented by the artist 2009 T12886

Damien Hirst born 1965

With Dead Head 1981-91

Black and whiite photograph mounted on aluminium plate image: 570 x 760 mm number 6 in an edition of 15 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Damien Hirst

AR00617

Controlled Substances Key Painting (Spot 4a) 1994

Acrylic on canvas frame: 1307 x 1303 x 81 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Damien Hirst

AR00498

Away from the Flock 1994

Lamb in formaldehyde solution in steel and glass vitrine displayed: 980 x 1540 x 525 mm number 3 in an edition of 3 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Damien Hirst

AR00499

Trinity - Pharmacology, Physiology, Pathology 2000

Three glass vitrines with anatomical models unconfirmed, central vitrine : 2740 x 1830 x 350 mm; unconfirmed, two side vitrines, each: 2130 x 1520 x 350 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Damien Hirst

AR00500

Monument to the Living and the Dead 2006

Butterflies and household gloss on canvas support, each: 2135 x 2135 x 33 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Damien Hirst

AR00045



























































David Hockney born 1937

Study for Doll Boy 1960

Oil on canvas unconfirmed: 590 x 400 mm Accepted by H.M. Government in lieu of tax on The Estate of Frith Banbury and allocated to the Tate Gallery 2009 T12882

The Berliner and the Bavarian 1962

Oil on canvas unconfirmed: 590 x 400 mm Accepted by H.M. Government in lieu of tax on The Estate of Frith Banbury and allocated to the Tate Gallery 2009 T12883

Bigger Trees Near Warter Or/Ou Peinture Sur Le Motif Pour Le Nouvel Age Post-Photographique 2007

Oil on canvas in 50 parts, and two groups of colour photographs on paper, each in 50 parts Overall dimensions variable Presented by the artist 2008 T12887

Jenny Holzer born 1950

BLUE PURPLE TILT 2007

Seven double-sided vertical LED signs with Titron blue diodes on front and red and blue diodes on back, stainless steel housings and bezels Overall display dimensions variable object, each: 4190 x 136 x 136 mm Unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00082

Protect Protect 2007

Oil on linen support: 2011 x 2600 x 40 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © 2009 Jenny Holzer, member/Artists Rights Society (ARS), New York

AR00083

Shape the Battlespace 2007

Oil on linen support: 2011 x 2602 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © 2009 Jenny Holzer, member/Artists Rights Society (ARS), New York

AR00084

Georgie Hopton born 1967


The Little Window 2008

Silk-screen on paper image: 309 x 248 mm number 19 in an edition of 60 P79385

Rebecca Horn born 1944

Unicorn 1968-9

Einhorn Graphite on off-white textured paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12783

Untitled 1968-9

Ohne Titel Graphite and coloured crayon on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12784

Untitled 1968-9

Ohne Titel Graphite on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12785

Untitled 1968-9

Ohne Titel Graphite and coloured crayon on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12786

Untitled (Breast Extension) 1968-9

Ohne Titel (Brust-Extension) Graphite on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12787

Untitled 1968-9

Ohne Titel Blue ink on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12788

Untitled 1969-70

Ohne Titel Graphite and coloured crayon on off-white card frame: 900 x 1200 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12791

Fan 1970

Fächer Black ink and coloured crayon on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12789

Untitled (Head Extension) 1971

Ohne Titel (Kopf Extension) Black ink on on off-white wove paper frame: 479 x 379 x 40 mm Purchased from the artist with funds provided by Tate Patrons 2009 T12790

Gary Hume born 1962

Untitled 01 2006

Portfolio of 8 linocuts printed on 400grsm Velin Arches Blanc paper image: 555 x 400 mm One of 4 printed outside and edition of 68 plus 8 artist's proofs Presented by the artist 2008 Image © Gary Hume P79720

Untitled 06 2006

Portfolio of 8 linocuts printed on 400grsm Velin Arches Blanc paper image: 555 x 400 mm One of 4 printed outside and edition of 68 plus 8 artist's proofs Presented by the artist 2008 Image © Gary Hume P79721

Untitled 02 2006

Portfolio of 8 linocuts printed on 400grsm Velin Arches Blanc paper image: 555 x 400 mm One of 4 printed outside an edition of 68 plus 8 artist's proofs Presented by the artist 2008 Image © Gary Hume P79722

Untitled 03 2006


Untitled 04 2006


Untitled 05 2006


Untitled 07 2006


Untitled 08 2006


William Holman Hunt 1827-1910

Portrait of Mrs Edith Holman Hunt 1880

Chalk and pastel on buff coloured paper frame: 661 x 572 x 35 mm Presented by Arthur and Helen Grogan through The Art Fund 2009 T12881

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Cristina Iglesias born 1956

Study for Suspended Pavilions 2005

China ink and black Conté over digital print on white wove paper support: 297 x 419 mm Presented by the artist 2008 T12967

Study for Suspended Pavilions 2005

China ink and black Conté over digital print on white wove paper support: 291 x 420 mm Presented by the artist 2008 T12968

Runa Islam 1970

First Day of Spring 2005

16mm film duration: 7min Artist Proof Purchased from White Cube, London with funds provided by Tate Members 2009 T12901

Sanja Ivekovic born 1949

Double Life: 1975 and "Amica" September 1962 1975

Dvostruki Zivot Photomontage in two parts, 1 full-page color advertisement from a magazine, 1 black-and-white photograph, and a type-writer written text mounted on paper taped together between two window mounts in a frame frame: 599 x 1003 x 25 mm Purchased from the artist with funds provided by Tate Members 2009 T12969

Double Life: November 1966 and "Grazia" 1975 1975


Double Life: September 1975 and "Marie Claire" 1975 1975


Double Life: September 1975 and "Marie Claire" 1975


Instructions No. 1 1976

Instrukcije br. 1 Single-channel video, black and white, silent duration: 6min Unlimited edition Purchased from the artist 2008 T12851

Make-up - Make-down 1978

Single channel video, colour with audio track duration: 9min Unlimited edition Purchased from the artist 2008 T12852

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Melanie Jackson born 1968


The Scavenger's Loot 2007

Letterpress on Velin Arches 400 gsm cream paper image: 320 x 214 mm number 10 in an edition of 25 Image © Melanie Jackson, courtesy Matt's Gallery, London P79364

Christian Jankowski born 1968

The Holy Artwork 2001

Single screen video projection, colour, with audio track duration: 15min, 52sec Overall display dimensions variable number 4 in an edition of 5 plus 2 artist's proofs Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 T12910

Joan Jonas born 1936

The Juniper Tree 1976/1994

Installation comprising twenty-two acrylic paintings on silk, wooden structure (reconstruction), string of wooden balls, ladder (reconstruction), kimono, painted mirror (reconstruction), metal suitcase, box containing bones, a doll, plastic mask, dog mask, three paper masks, an apple, a rattle, a knife, twigs, two glass jars, stage lighting track, three posters, soundtrack performed by Joan Jonas with songs by Simone Forti, twenty-six 35mm slides and slide projector. Overall display dimensions variable Purchased with funds provided by American Fund for the Tate Gallery 2008 T12923

Sarah Jones born 1959

Actor (II) 1995, 2008

Colour C-type print mounted on aluminium image: 1500 x 1500 mm number 2 in an edition of 3 plus 1 artist's proof Presented by Maureen Paley, London 2008 P79731

Alan Kane born 1961

See Jeremy Deller

Alex Katz born 1927

Pansies 1967

Oil on board frame: 322 x 424 x 34 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Alex Katz

AR00001

Tulips 1969


AR00002

East Window 1979


AR00003

Pink Sweater 1981


AR00017

Lillies Against Yellow House 1983


AR00004

Eli's Friend 1985


AR00018

Young Trees 1989


AR00005

Daisies #2 1992


AR00006

Ocean View 1992


AR00007

Winter Branch 1993


AR00008

Night Branch 1994


AR00009

Kate 1994


AR00019

Vincent 1996


AR00020

West Palm Beach 1997


AR00010

3 PM, November 1997


AR00011

City Night 1998

Oil on board frame: 249 x 321 x 34 mm






















































ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Alex Katz

AR00012

Green Shadow #2 1998


AR00013

Road 1998


AR00014

Penobscot 1999


AR00015

Grey Marine 2000


AR00016

Ian Kiaer born 1971

Brueghel Project / Casa Malaparte 1999

Acrylic on calico, balsa wood, cardboard, foam, artificial moss and stool Overall display dimensions variable Presented by Charles Asprey 2008 Image © Ian Kiaer T12874

Ulchiro Project 2007

Metal, plastic, fan, paper, acrylic on canvas, watercolour on canvas, comic strips, foam and electronic components Overall display dimensions variable Purchased from Alison Jacques Gallery, London with assistance from the Gytha Trust 2009 Image © Ian Kiaer T12781

Michael Kidner born 1917

Yellow Grey Relief 1963

Paint on primed hardboard object: 989 x 1400 x 31 mm Purchased from Flowers East, London with assistance from the Knapping Fund 2009 Image © Michael Kidner T12804

Anselm Kiefer born 1945

Palette 1981

Oil, shellac and emulsion on canvas unconfirmed: 2900 x 4000 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00613

Urd Werdande Skuld (The Norns) 1983

Oli, shellac, emulsion and fibre on canvas unconfirmed: 4200 x 2800 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Anselm Kiefer

AR00036

Man under a Pyramid 1996

Emulsion, acrylic, shellac and ash on burlap unconfirmed: 3540 x 5000 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Anselm Kiefer

AR00037

Cette obscure clarté qui tombe des étoiles 1999

Two-part installation: painting: acrylic, oil, emulsion, shellac, glass, earth, sand and paper on canvas; and sculpture: lead, iron and mixed media. unconfirmed, painting: 4700 x 4000 mm; unconfirmed, sculpture: 3400 x 1650 x 1100 mm approx wgt: 7.5 tons ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00041

Palm Sunday 2006

Palmsonntag Two-part installation: thirty- three part painting, palm tree cast in resin, 55 mud and straw bricks Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Anselm Kiefer

AR00038

Bela Kolárová born 1923

Solution for Clips 1969

Paperclips on paper unconfirmed: 1060 x 770 mm Unique Purchased from Krobath Wimmer, Vienna with funds provided by the Outset / Frieze Art Fair Fund to benefit the Tate Collection 2008 T12877

Koo Jeong-A born 1967

Cedric 2003

Magnetic rods and chrome steel balls Overall display dimensions variable Purchased from Galerie Yvon Lambert, Paris with funds provided by the Asia Pacific Acquisitions Committee 2008 T12761

Jeff Koons born 1955

New Hoover Convertibles, Green, Red, Brown, New Shelton Wet/Dry 10 Gallon Displaced Doubledecker 1981-7

Vacuum cleaners, plexiglass and fluorescent lights unconfirmed: 2510 x 1370 x 710 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00077

Encased - Four Rows 1983-93

Glass, steel, plastic and basketballs unconfirmed: 2032 x 1400 x 432 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00078

Art Magazine Ads 1988-9

Portfolio of four colour lithographs support, each: 915 x 712 mm Number 8 of 10 artist's proof, aside from the edition of 50 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00081

Winter Bears 1988

Polychromed wood displayed: 1245 x 1170 x 450 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00494

Made in Heaven 1989

Lithograph billboard support: 3145 x 6910 x 5.5 mm number 2 in an edition of 3 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00080

Mound of Flowers 1991

Glass displayed: 400 x 1135 x 945 mm Artist's proof aside from an edition of 3 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00076

Bourgeois Bust - Jeff and Ilona 1991

White marble unconfirmed: 1130 x 711 x 533 mm Artist's proof aside from the edition of 3 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00597

GOAT (Ice Blue) 1999

Crystal glass, coloured plastic interlayer, mirrored glass and stainless steel unconfirmed: 2190 x 1500 x 30 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00486

MONKEY (Red-Orange) 1999

Crystal glass, coloured plastic interlayer, mirrored glass and stainless steel object: 2110 x 1500 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00487

DONKEY (Blue-Green) 1999


AR00488

BEAR (Blue) 1999


AR00489

HIPPO (Green) 1999


AR00490

ELEPHANT (Gold) 1999


AR00491

PONY (Blue) 1999


AR00492

WALRUS (Purple) 1999


AR00493

GIRAFFE (Red) 1999

Crystal glass, coloured plastic interlayer, mirrored glass and stainless steel unconfirmed: 2110 x 1530 x 30 mm

X24350

Caterpillar (with chains) 2002

Polychromed aluminium and rubber coated steel object: 470 x 1945 x 1100 mm number 1 in an edition of 3 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jeff Koons

AR00079

Susumu Koshimizu born 1944

From Surface to Surface 1971, remade 1986

Wood displayed: 3000 x 8100 x 100 mm Purchased from Kamakura Gallery, Kanagawa with funds provided by the Asia Pacific Acquisitions Committee 2008 T12822

Jannis Kounellis born 1936

Untitled 1960-98

Steel panel, two enamel drawings mounted on canvas, sack with coal, three hooks and hanging rod displayed: 2000 x 1800 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00068

Untitled 1960

Oil on canvas support: 1409 x 2305 x 30 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00614

Untitled 1969

Seven burlap sacks containing coffee beans, red lentils, broad beans, peas, white and red beans and corn Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00069

Untitled 1971

Oil on canvas support: 2200 x 3169 x 37 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00497

Untitled (Coffee) 1989-91

Metal and glass box containing etching, coffee beans and engraved lead unconfirmed: 653 x 455 x 72 mm number 14 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00581

Coal Sculpture with Wall of Coloured Glass 1990-2005

Coloured glass, steel, coal and paraffin lamp Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00070

Untitled (Hanging Knife) 1991

Metal and glass box containing etching, hook and knife object: 653 x 452 x 75 mm number 10 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00582

Bells 1993

Three bronze bells, rope and wooden beams Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00071

Untitled 1993

Steel bedsprings, metal hook and yellow paint object (bed base): 1890 x 790 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00072

Untitled (Sack with Z) 2001

Metal and glass box containing burlap sack and coal unconfirmed: 650 x 450 x 140 mm number 4 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00583

Untitled (Knife and Train) 2002

Metal and glass box with 5 knives and 2 trains object: 535 x 395 x 98 mm Artist's proof aside from an edition of 13 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00074

Untitled 2004

Steel crosses, carpets, meat hook, coat and hat unconfirmed: 22500 x 7000 x 3000 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00073

Untitled (Scissors) 2004

Metal and glass box containing scissors object: 652 x 450 x 138 mm number 2 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00584

Untitled (Sewing Machine) 2004

Metal and glass box containing sewing machine and black coat unconfirmed: 705 x 210 x 100 mm number 11 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008















































AR00585

Untitled (Hair) 2004

Metal and glass box with hair object: 652 x 450 x 140 mm number 17 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Jannis Kounellis

AR00586

Untitled 2005

Iron and glass vitrine, black stain lithograph, two V-shaped I-beams object: 1001 x 709 x 157 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00075

Yayoi Kusama born 1929

The Passing Winter 2007

Glass,mirrored glass and silicone object: 1800 x 805 x 805 mm Purchased from Victoria Miro, London with funds provided by the Asia Pacific Acquisitions Committee 2008 T12821

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Hilary Lloyd born 1964

One Minute of Water 1999

Single channel colour video duration: 1min loop number 2 in an edition of 3 plus 1 artist's proof Purchased from Galerie Neu, Berlin 2008 T12803

Monika 2000

Single channel colour video, audio track duration: 56min number 1 in an edition of 3 plus 1 artist's proof Purchased from Galerie Neu, Berlin 2008 T12802

Car Wash 2005

4 screen slide projection Overall display dimensions variable number 1 in an edition of 3 plus 1 artist's proof Purchased from the artist with funds provided by Charles Asprey 2008 T12770

Louise Lawler born 1947

Etude pour La Lecture, 1923, This Drawing is for Sale, Paris 1985

Gelatin silver print on paper with printed text image: 395 x 590 mm number 3 in an edition of 5 plus 1 artist's proof Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 Image © Louise Lawler, courtesy of Metro Pictures, NY P79770

March 25, 1991 1991

Gelatin silver print on paper with printed text image: 380 x 555 mm number 3 in an edition of 5 plus 1 artist's proof Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 Image © Louise Lawler, courtesy of Metro Pictures, NY P79772

Foreground 1994

Gelatin silver print on paper image: 95 x 71 mm number 3 in an edition of 10 plus 1 artist's proof Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 Image © Louise Lawler, courtesy of Metro Pictures, NY P79771

Edwina Leapman born 1934

Untitled Deep Blue 1964-5

Acrylic on primed linen canvas support: 1388 x 1900 mm Presented by Alan and Lucy Turner 2008 T12857

Untitled Orange 1964-5

Acrylic on primed linen canvas support: 1388 x 1900 mm Presented by Alan and Lucy Turner 2008 T12858

Sherrie Levine born 1947

2 Shoes 1992

Leather displayed: 65 x 135 x 160 mm number 32 in an edition of 99 Presented by the American Fund for the Tate Gallery, courtesy of Eileen and Peter Norton 2009 T12911

Sol LeWitt 1928-2007

Wall Drawing #1136 2004

Straight and not-straight bands; primary and secondary colours plus grey Overall display dimensions variable unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © The estate of Sol LeWitt

AR00165

Glenn Ligon born 1960

Untitled 2006

Neon and black paint object: 610 x 4267 mm Purchased with funds provided by the American Fund for the Tate Gallery 2008 T12928

Linder born 1954

copyright agent Stuart Shave/Modern Art (London, UK)

She/She 1981/2007

Silver bromide prints from original negatives frame: each 707 x 612 x 34 mm number 3 in an edition of 3 Purchased from Stuart Shave\Modern Art, London with funds provided by Wendy Fisher 2009 Image © Linder P79743

Hew Locke born 1959

Vita, Veritas, Victoria 2007

Plastic beads, cord, gaffer tape and hot melted glue displayed: 5410 x 3912 mm Purchased from Hales Gallery, London with funds provided by Tate Members 2008 T12855

Richard Long born 1945

A Line Made by Walking 1967

Framed black and white photograph on paper with hand written title frame: 831 x 1137 x 41 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Richard Long

AR00142

Book with mud-dipped pages 1979

Book with original mud drawings object: 158 x 142 x 10 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00144

Willow Sticks 1980

Willow sticks Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00615

River Avon Mud drawings, Ten Mud-dipped papers 1988

River Avon mud on paper, ten parts frame, each: 425 x 315 x 20 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00616

Nile (Papers of River Muds) 1990

Original limited edition book with 23 pages and one loose insert 370 x 304 mm number 75 in an edition of 88 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00599

In the Cloud 1991

Framed text frame: 1064 x 1560 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Richard Long

AR00143

River Avon Mud, Slow Hand Spiral 2005

River Avon mud and black paint on wall unconfirmed: diameter 4480 mm

X24408

Cornish Slate Ellipse 2009

Delabole slate displayed: 7200 x 3420 mm ARTIST ROOMS Tate and National Galleries of Scotland. Acquired jointly through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00703

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Conroy Maddox 1912-2005

Untitled drawing ('In Paris') 1937

Ink on paper support: 295 x 205 mm Presented by Lee Saunders 2008 T12895

Robert Mapplethorpe 1946-1989

Patti Smith 1975

Black and white silver gelatin print on paper support: 341 x 341 mm number 1 of 2 artist's proofs ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00185

John McKendry 1975, printed 1992

Black and white silver gelatin print on paper support: 341 x 341 mm number 5 in an edition of 5 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00209

Brice Marden 1976


AR00147

Honey 1976


AR00157

Patti Smith 1976

Black and white silver gelatin print on paper support: 340 x 341 mm Exhibition Print ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00186

Marianne Faithful 1976, printed 2003


AR00204

Arnold Schwarzenegger 1976, printed 2005


AR00213

Philip Glass and Robert Wilson 1976

Black and white silver gelatin print on paper support: 341 x 341 mm Exhibition Print ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00214

Nick 1977


AR00159

Jim, Sausalito 1977


AR00198

Phillip Johnson 1978


AR00154

Patti Smith 1978, printed 2005


AR00187

Charles Tennant 1978


AR00191

Clothespinned Mouth 1978


AR00201

Henry Geldzahler 1979


AR00153

Bob Love 1979


AR00160

Brian Ridley and Lyle Heeter 1979


AR00196

Alan Lynes 1979


AR00197

Dominick and Elliot 1979


AR00199

Patti Smith 1979

Black and white silver gelatin print support: 340 x 342 mm number 6 in an edition of 10 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00495

Smutty 1980


AR00188

Nick Marden 1980


AR00192

Diane Benson 1980


AR00203

Katherine Cebrian 1980


AR00205

William Burroughs 1980


AR00211

Waves 1980


AR00224

Self Portrait 1980

Black and white silver gelatin print on paper support: 340 x 341 mm Exhibition print ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00225

Francesca Thyssen 1981


AR00156

Lowell Smith 1981


AR00161

Snakeman 1981


AR00193

Iggy Pop 1981


AR00210

Truman Capote 1981


AR00212

Self Portrait 1981, printed 1992


AR00228

Francesco Clemente 1982


AR00151

Smutty 1982






























































AR00189

Cock and Devil 1982, printed 1990


AR00200

Louise Bourgeois 1982, printed 1991


AR00215

Lawrence Weiner 1982, printed 1991


AR00218

Andy Warhol 1983


AR00150

Doris Saatchi 1983


AR00155

Derrick Cross 1983

Black and white silver gelatin print on paper unconfirmed: 508 x 406 mm number 9 in an edition of 10 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00194

Molissa Fenley 1983


AR00208

Robert Rauschenberg 1983


AR00216

Andy Warhol 1983, printed 1990


AR00219

Self Portrait 1983


AR00226

Self Portrait 1983


AR00227

Orchid and Hand 1983


AR00229

Tattoo Artist's Son 1984


AR00190

Grace Jones 1984


AR00206

Keith Haring 1984


AR00207

Frogs 1984


AR00221

Francesco Clemente 1985


AR00152

Lindsay Key 1985


AR00158

Meredith Monk 1985


AR00202

Roy Lichtenstein 1985, printed 1990


AR00217

Gun Blast 1985


AR00222

Brice Marden 1986


AR00146

Willem de Kooning 1986


AR00148

Andy Warhol 1986


AR00149

Andy Warhol 1986, printed 1990


AR00220

Self-Portrait 1988


AR00145

Eve Sarandon / Amurri 1988


AR00195

Skull 1988, printed 1990


AR00223

Self-Portrait 1988

Black and white silver gelatin print support: 577 x 481 mm number 5 in an edition of 10 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00496

Agnes Martin 1912-2004

Untitled #5 1994

Acrylic and graphite on canvas support: 1525 x 1528 x 35 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00177

Faraway Love 1999


AR00178

Happy Holiday 1999


AR00179

Simon Martin born 1965

Wednesday Afternoon 2005

Single screen colour video projection, audio track duration: 12min number 3 in an edition of 3 Purchased from Carl Freedman Gallery, London 2008 Image © Simon Martin T12765

Carlton 2006

Single screen colour video projection, audio track duration: 9min number 1 in an edition of 3 Purchased from Carl Freedman Gallery, London 2008 Image © Simon Martin T12764

Paul McCarthy born 1945

Projection Room 1971-2006 2006

Installation comprising colour video projections with audio track and colour slide projections Overall display dimensions variable number 1 in an edition of 3 plus 1 artist's proof Presented by the American Fund for the Tate Gallery 2009 T12908

Nathaniel Mellors born 1974


Time Surgeon Performers' Mask 2007

Off-set Lithograph on BFK Rives 210 gsm paper image: 320 x 242 mm number 10 in an edition of 25 Image © Nathaniel Mellors, courtesy Matt's Gallery, London P79365

Ana Mendieta 1948-1985

Untitled (Blood and Feathers #2) 1974

Single channel projection, 8mm colour film transferred to DVD, silent duration: 3min, 30sec number 5 in an edition of 6 Presented by the Estate of Ana Mendieta Collection and an anonymous donor 2009 T12916

Mario Merz 1925-2003

Che Fare? 1968-73

Aluminium, wax and neon unconfirmed: 120 x 685 x 191 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00598

Lingotto 1968

Brush-wood, beeswax and steel unconfirmed: 2620 x 3130 x 1140 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © The estate of Mario Merz

AR00608

Sir John Everett Millais, Bt 1829-1896

Dew-Drenched Furze 1889-90

Oil on canvas support: 1732 x 1230 x 27 mm frame: 2091 x 1595 x 113 mm Presented by Geoffroy Millais in memory of his late father, Sir Ralph Millais Bt 2009 T12865

Harland Miller born 1964


International Lonely Guy 2008

Lithograph on paper image: 192 x 141 mm number 19 in an edition of 60 P79386

Joan Mitchell 1925-1992

Chord II 1986

Oil on canvas frame: 1699 x 1407 x 49 mm Presented by Jytte Dresing through The Merla Art Foundation 2009 T12921

Jacob More circa 1740-1793

The Deluge 1787

Oil on canvas support: 1504 x 2046 x 37 mm frame: 1810 x 2331 x 105 mm Purchased from Ben Elwes Fine Art, London with funds provided by Tate Patrons and Tate Members 2009 T12758

Ron Mueck born 1958

Spooning Couple 2005

Mixed media unconfirmed: 140 x 650 x 350 mm Artist's proof aside from the edition of 1 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00033

Wild Man 2005

Mixed media unconfirmed: 2850 x 1620 x 1080 mm Artist's proof aside from the edition of one ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00034

Mask III 2005

Mixed media unconfirmed: 1550 x 1320 x 1130 mm Unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00035

Vik Muniz born 1961

'Pictures of Dust' Presented by the American Fund for the Tate Gallery, courtesy of American Acquisitions Committee 2009 T12917

After Richard Serra, Prop, 1968 2000

C-type print on plastic unconfirmed: 1524 x 1219 mm Image © Vik Muniz T12917

Juan Muñoz 1953-2001

The Prompter 1988

Le Souffler Iron, papier-mâché, bronze, wood and linoleum Overall display dimensions variable Presented by the artist's estate 2008 Image © The estate of Juan Muñoz T12797

Antonio Muntadas born 1942

Personal/Public 1981

CCTV, wooden chair, clock, calendar, television aria, carpet and 2 monitors Overall display dimensions variable number 1 in an edition of 6 Purchased from Galerie Gabrielle Maubrie, Paris 2008 T12849

David Musgrave

Plane with Inverted Figure 2007

Graphite on heavy weight cream wove paper unconfirmed: 630 x 503 mm Purchased from greengrassi, London 2008 T12760

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Deimantas Narkevicius born 1964

Never Backwards 1994

Niekada atgal Wood, paraffin wax and metal object: 800 x 1190 x 650 mm Purchased from Galerie Jan Mot, Brussels 2008 Image © Deimantas Narkevicius T12779

Bruce Nauman born 1941

Untitled 1965

Fiberglass and polyester resin object: 1219 x 406 x 1219 mm Purchased from Angela Westwater Gallery, New York with funds provided by an anonymous donor 2009 T12890

Changing Light Corridor with Rooms 1971

200-watt white light bulbs, timers. Temporary walls fabricated when work installed. Overall display dimensions variable unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00044

La Brea/Art Tips/Rat Spit/Tar Pits 1972

Neon tubing in four colours with clear glass tubing suspension frame unconfirmed: 619 x 584 x 51 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00607

Enforced Perspective: Allegory and Symbolism 1975

36 rhomboid steel blocks unconfirmed, 36 parts, each: 102 x 356 x 356 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00180

Untitled (Drawing for Enforced Perspective) 1975


AR00578

Violent Incident: Man-Woman Segment 1986

Video tape Overall display dimensions variable duration: 30min, 30sec from an edition of 200 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00577

Raw Material Washing Hands, Normal (A of A/B) Raw Material Washing Hands, Normal (B of A/B) 1996

Two monitor colour video installation Overall display dimensions variable duration (channel 1): 55min, 46sec duration (channel 2): 55min, 56sec ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00579

Untitled (Hand Circle) 1996

Cast phosphorous bronze, silver solder and copper displayed: 1155 x 710 x 700 mm number 6 in an edition of 9 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art




























































Fund 2008

AR00580

Partial Truth 1997

Hand-carved black absolute granite object: 60 x 607 x 550 mm number 5 in an edition of 25 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00575

Setting a Good Corner (Allegory and Metaphor) 1999

Video on DVD in case Overall display dimensions variable duration: 59min, 18sec number 27 in an edition of 40 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00576

Mike Nelson born 1967

The Coral Reef 2000

Mixed media installation of 15 interconnecting spaces with sourced, found and adapted objects Overall display dimensions variable Purchased from Matt's Gallery, London with funds provided by Tate Members 2008 T12859


Heroin Room, (The Coral Reef) 2000 2007

Ultrachrome print on smooth gloss 290gsm paper image: 336 x 269 mm number 10 in an edition of 25 Image © Mike Nelson, courtesy Matt's Gallery, London P79366

Avis Newman born 1946


infinity doubled 2007

Photo etching and aquatint on Hahnemühle Etching 300gsm natural paper image: 297 x 420 mm number 10 in an edition of 25 Image © Avis Newman P79367

Hayley Newman born 1969


Volcano Lady 2007

Double sided off-set Lithograph (printed both sides) on Gloss Art 250 gsm paper image: 297 x 297 mm number 10 in an edition of 25 Image © Hayley Newman, courtesy Matt's Gallery, London P79368

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Albert Oehlen Born 1954

Loa 2007

Acrylic paint, oil paint, collage, ink on canvas support: 1702 x 3102 x 41 mm Purchased from Thomas Dane, London with funds provided by Tate Patrons 2009 Image © Albert Oehlen T12808

Hélio Oiticica 1937-1980

Bilateral 'Teman' BIL 003 1959

Bilateral 'Teman' BIL 003 Oil-casein emulsion on wood fibreboard object: 1206 x 1345 x 14 mm Purchased with assistance from the American Fund for the Tate Gallery, Tate Members, Tate International Council and The Art Fund 2008 T12762

Spatial Relief (red) REL 036 1959

Relevo espacial (vermêlho) REL 036 Polyvinyl acetate resin on plywood object: 625 x 1480 x 153 mm, 15 kg Purchased with assistance from the American Fund for the Tate Gallery, Tate Members and The Art Fund 2008 Image © Projeto Hélio Oiticica T12763

Catherine Opie born 1961

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 P79773; P79775-P79777

Untitled #2 2001

Inkjet print on white wove paper image: 405 x 1040 mm number 3 in an edition of 5 P79773

Untitled #5 2001


Untitled #11 2001


Untitled #19 2001


David Osbaldeston born 1968


A Trade Double 2007

Lithograph on Magnani Litho 310 gsm white paper image: 414 x 574 mm number 10 in an edition of 25 Image © David Osbaldeston, courtesy Matt's Gallery, London P79369

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John Panting 1940-1974

Untitled sketch model for steel sculpture circa 1972-4

Brazed steel object: 160 x 180 x 180 mm Purchased from Poussin Gallery, London 2008 T12829




Brazed Steel object: 230 x 250 x 270 mm Purchased from Poussin Gallery, London 2008 T12831



Cornelia Parker born 1956


The Blue Room 2008

Lithograph on paper image: 238 x 230 mm number 19 in an edition of 60 Image © Cornelia Parker P79389

Ewa Partum born 1945

Active Poetry 1971-3

Poezja Aktywna Single-channel projection, 8mm film transferred to DVD/mini DV, silent, duration: 5min, 44sec Overall display dimensions variable Edition of 6 Purchased from the artist, 2008 T12766

Active Poetry 1971

Poezja Aktywna Black and white photograph on paper unconfirmed: 180 x 165 mm unique Purchased from the artist, 2008 Image © Ewa Partum T12767

Simon Periton born 1964


Neighbourhood Witch 2008

Silkscreen on paper image: 360 x 300 mm number 19 in an edition of 60 P79392

Vong Phaophanit born 1961

What Falls to the Ground but Can't Be Eaten 1991

Bamboo poles, metal and light Overall display dimensions variable Purchased from the artist with funds provided by Tate Members 2008 Image © Vong Phaophanit T12860

'All that's solid melts into air (Karl Marx)' 2006

Colour video projection, sound duration: 33min number 1 in an edition of 5 plus 1 artist's proof Purchased from the artist with funds provided by Tate Members 2008 Image © Vong Phaophanit T12815

Matthew Pillsbury born 1973

Slides in the Turbine Hall, Tate Modern, London, 2007 2007

Archival pigment ink prints on paper; diptych image: each 800 x 1000 mm number 2 in an edition of 10 plus 1 artist's proof Presented by the artist and Pierre Brahm 2008 Image © Matthew Pillsbury, courtesy of Bonni Benrubi Gallery, New York P20338

Nicholas Pope born 1949

Oak Wood Column 1973

Oak wood object: 1710 x 165 x 20 mm Presented by John Cox 2008 T12846

Charlotte Posenenske 1930-1985

Sprayed Picture 1964-5

Yellow and black pigment, spray-gunned on hardboard support: 338 x 239 mm Presented by Dr. Burkhard Brunn 2008 Image © Estate of Charlotte Posenenske/Burkhard Brunn, Frankfurt/M. T12776

Square Tubes [Series D] 1967

Six hot-galvanised steel elements comprising 1 square tube, 1 rectangular tube, 1 cubic tube, 1 angular element, 1 transition element, and 1 T-piece Six elements: square tube: 460 x 460 x 920 mm; rectangular tube: 230 x 460 x 920 mm; cubic tube, 460 x 460 x 460 mm; angular element, opening: 460 x 460 mm; transition element, openings: 460 x 460 and T-piece, openings: 460 x 460 mm Overall display dimensions variable Unlimited Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by the Knapping Fund 2009 Image © Estate of Charlotte Posenenske/Burkhard Brunn, Frankfurt/M. T12772

Prototype for Revolving Vane 1967-8

Particle board Overall display dimensions variable Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by Tate Patrons 2009 Image © Estate of Charlotte Posenenske/Burkhard Brunn, Frankfurt/M. T12773


Six hot-galvanised steel elements comprising 1 square tube, 1 rectangular tube, 1 cubic tube, 1 angular element, 1 transition element, and 1 T-piece Six elements: square tube: 460 x 460 x 920 mm; rectangular tube: 230 x 460 x 920 mm; cubic tube, 460 x 460 x 460 mm; angular element, opening: 460 x 460 mm; transition element, openings: 460 x 460 and T-piece, openings: 460 x 460 mm Overall display dimensions variable Unlimited Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by the Knapping Fund 2009 T12774


Six hot-galvanised steel elements comprising 1 square tube, 1 rectangular tube, 1 cubic tube, 1 angular element, 1 transition element, and 1 T-piece Six elements: square tube: 460 x 460 x 920 mm; rectangular tube: 230 x 460 x 920 mm; cubic tube, 460 x 460 x 460 mm; angular element, opening: 460 x 460 mm; transition element, openings: 460 x 460 and T-piece, openings: 460 x 460 mm Overall display dimensions variable Unlimited Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by the Knapping Fund 2009 T12775


Four hot-galvanised steel elements comprising 1 square tube, 1 rectangular tube, 1 angular element, and 1 transition element Four elements: square tube: 460 x 460 x 920 mm; rectangular tube: 230 x 460 x 920 mm; angular element, 460 x 460 mm; transition element, openings: 460 x 460 Overall display dimensions variable Unlimited Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by the Knapping Fund 2009 T12777


Four hot-galvanised steel elements comprising 1 square tube, 1 rectangular tube, 1 angular element, and 1 transition element Four elements: square tube: 460 x 460 x 920 mm; rectangular tube: 230 x 460 x 920 mm; angular element, opening: 460 x 460 mm; transition element, openings: 460 x 460 Overall display dimensions variable Unlimited Purchased from Dr. Burkhard Brunn, Frankfurt with funds provided by the Knapping Fund 2009 T12778

Florian Pumhösl born 1971

Programm 2006

16 mm colour film projection, optical sound, looped duration: 7min, 49sec number 3 in an edition of 3 plus 1 artist's proof Purchased from Krobath Wimmer, Vienna with funds provided by Tate Members 2008 T12896

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Charles Ray born 1953

Plank Piece I-II 1973

Two black and white photographs mounted on ragboard frame: 1090 x 761 x 50 mm number 2 in an edition of 7 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00342

Paula Rego born 1935


The Guardian 2008

Etching on paper image: 362 x 303 mm number 19 in an edition of 60 Image © Paula Rego P79394

Jamie Reid born 1947

Work and Play 1972

Ink, gouache, Letraset and paper collage on medium weight paper support: 710 x 508 mm Purchased from Isis, London with funds provided by Tate Members 2009 Image © Jamie Reid, courtesy Isis Gallery, London T12837

No Feelings 1977

Collage on Letraset tint overlay on paper support: 252 x 202 mm Presented by the artist 2008 Image © Jamie Reid, courtesy Isis Gallery, London T12836

Rosângela Rennó born 1962

Experiencing Cinema 2004-5

Experiencia de Cinema Single channel video projection on intermittent steam curtain, 4 DVD-Rs with 31 photos programmed for continuous loop 21 min each DVD / Programmed sequence in a total of 4 DVDs / sequences Presented by Gerard Cohen and Nicole Junkermann 2006, accessioned 2009 T12897

Carol Rhodes born 1959

Airport 1995

Oil on board support: 420 x 480 mm Purchased from Mummery + Schnelle, London with funds provided by Charles Asprey 2008 T12861

Gerhard Richter born 1932

48 Portraits 1971-98

48 black and white photographs on baryta paper, mounted between matte Plexiglas and Dibond plates support, each: 688 x 540 x 28 mm number 1 in an edition of 4 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00025

Two Sculptures for a Room by Palermo 1971

Original painted plaster on painted wooden plinth object, each: 1758 x 200 x 257 mm Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00183

Brigid Polk (305) 1971

Oil on canvas support: 1805 x 1803 x 60 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00344

Gilbert, George (381-1, 381-2) 1975

Oil on canvas, diptych support, each: 684 x 631 x 45 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00345

Untitled 1985

Oil on paper support: 592 x 853 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00346

Mirror Painting (Grey, 735-2) 1991

Spiegel, Grau (735-2) Pigment on glass support: 2800 x 1648 x 45 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00022

Corner Mirror, brown-blue (737-1, 737-2) 1991

Eckspiegel, braun-blau (737-1, 737-2) Pigment on glass unconfirmed, each: 2250 x 1000 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00023

Corner Mirror, green-red (737-2 A, 737-2 B) 1991

Eckspiegel, grun-rot (727-2 A, 737-2 B) Pigment on glass unconfirmed, each: 2250 x 1000 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00024

Self Portrait Standing, Three Times, 17.3.1991 1991

Six hand painted black and white photographs support, each: 504 x 564 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00182

Abstract Painting (809-3) 1994

Abstraktes Bild (809-3) Oil on canvas support: 2300 x 2048 x 75 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00027

Abstract Painting (Silicate) (880-4) 2002

Abstraktes Bild (Silikat) (880-4) Oil on Alu-Dibond support: 2204 x 1544 x 55 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter




















































AR00029

Abstract Painting (Grey) (880-3) 2002

Abstraktes Bild (Grau) (880-3) Oil on Alu-Dibond support: 2204 x 1544 x 55 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00030

11 Panes 2004

11 Scheiben (886-5) 11 sheets of glass; wooden blocks Overall, unconfirmed: 2900 x 2120 x 540 mm, 1230 kg pane of glass, each: 2780 x 2120 x 8 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00026

Abstract Painting (Skin) (887-3) 2004

Abstraktes Bild (Haut) (887-3) Oil on canvas support: 2300 x 2049 x 68 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Gerhard Richter

AR00028

John Riddy born 1959


Muizenberg (Sea View), 2003 2007

Ultrachrome print on smooth gloss 290gsm paper image: 235 x 292 mm number 10 in an edition of 25 Image © John Riddy P79370

Liz Rideal born 1954

Self-Portrait Yellow 1996

Colour C-type enlargement photograph on paper unconfirmed: 2810 x 610 mm number 1 in an edition of 3 Presented by Lucas Schoormans 2009 Image © Liz Rideal P79764

Donald Rodney 1961-1998

How the West was Won 1982

Oil on canvas and plastic collage support: 1200 x 1215 mm Presented by the Donald Rodney Estate 2007 T12768

Visceral Canker 1990

Perspex, wood, paint, silicon tubing, gold leaf ,blood bags and electrical pump unconfirmed: Panel 1 (wood and perspex sheet) 1220 x 910 mm; Panel 2 (mixed media and 2 perspex sheets) 1220 x 910 mm; Panel 3 (wood and perspex sheet) 1550 x 910 mm; Panel 4 (mixed media and 2 perspex sheets) 1550 x 910 mm Purchased from the executors for Donald G. Rodney with funds provided by Tate Members 2009 Image © The estate of Donald Rodney T12769

Mimmo Rotella 1918-2006

With a Smile 1962

Con un sorriso Torn found paper posters lined in several layers over one another, lined onto stretched open weave hessian support: 1554 x 1334 mm Presented anonymously 2008 T12854

Sir Peter Paul Rubens 1577-1640

The Apotheosis of James I and other studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall circa 1628-30

Oil on oak support, laminated onto a cradled mahogany support support: 947 x 630 mm Purchased with assistance from the National Heritage Memorial Fund, Tate Members, The Art Fund in memory of Sir Oliver Millar (with a contribution from the Wolfson Foundation) Viscount and Viscountess Hampden and Family, Monument Trust, Manny and Brigitta Davidson and the Family, and other donors 2008 T12919

Allen Ruppersberg born 1944

The Never Ending Book 2007

paper, textile, mdf and paint Overall display dimensions variable Purchased with funds provided by the American Fund for the Tate Gallery 2008 T12927

Edward Ruscha born 1937

HONK 1962

Acrylic on paper support: 279 x 352 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00184

Standard Study # 3 1963

Tempera and ink on paper support: 279 x 457 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00050

DANCE? 1973

Coffee, eggwhite, mustard, chilli sauce, ketchup and cheddar cheese on canvas support: 1440 x 1591 x 29 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00046

MAD SCIENTIST 1975

Pastel on paper support: 578 x 724 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00051

Miracle #64 1975

Zinc oxide and pastel on Strathmore paper support: 981 x 743 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00052

I PLEAD INSANITY BECAUSE I'M JUST CRAZY ABOUT THAT LITTLE GIRL 1976


AR00053

PRETTY EYES, ELECTRIC BILLS 1976

Mixed media on paper support: 559 x 724 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00054

SMELLS LIKE BACK OF OLD HOT RADIO 1976


AR00055

ARTISTS WHO DO BOOKS 1976


AR00056

ARTISTS WHO MAKE "PIECES" 1976


AR00057

DIRTY BABY 1977


AR00058

HOLLYWOOD TANTRUM 1979


AR00059

CROSSOVER DREAMS 1991


AR00060

The Final End 1992

Acrylic on canvas support: 1780 x 3507 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00596

SOAPY SMITH 1996


AR00061

RED ROOSTER 1996

Acrylic and pencil on lithograph on paper support: 540 x 711 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00062

Vowel #64 (E) 1996

Acrylic on book cover support: 250 x 255 mm Presented by the American Fund for the Tate Gallery, courtesy of Eileen and Peter Norton 2009 Image © Edward Ruscha T12912

Vowel #98 (O) 1996

Acrylic on book cover support: 250 x 255 mm Presented by the American Fund for the Tate Gallery, courtesy of Eileen and Peter Norton 2009 Image © Edward Ruscha T12913

HOPE 1998


AR00063

Pay Nothing Until April 2003

Acrylic on canvas support: 1527 x 1525 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00047

DAILY PLANET 2003

Acrylic on canvas support: 1529 x 1529 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Edward Ruscha

AR00048

THE END #40 2003


AR00064

DEC. 30th 2005

Acrylic on museum board paper support: 1016 x 1524 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00065

BLVD.-AVE.-ST. 2006

Acrylic on canvas support: 1782 x 2747 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00049

Veronica Ryan born 1956

Untitled 1985

Plaster and bronze unconfirmed: 290 x 760 x 360 mm Presented by the American Fund for the Tate Gallery, courtesy of Howard Karshan to mark his term as Chairman of the Patrons of New Art (1993-1997) 2009 Image © Veronica Ryan T12907

Robert Ryman born 1930

Untitled, Bruxelles 1974

Ten-part polymer paint on vinyl mounted on fibreglass support, each: 536 x 536 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00343

Back to top

Anri Sala born 1974

After Three Minutes 2007

Two screen projection, colour video, silent duration: 3min number 3 in an edition of 6 plus 3 artist's proofs Presented by Iwan and Manuela Wirth 2008 Image © Anri Sala T12814

Julião Sarmento born 1948

Mehr Licht 1985

Paper collage with acrylic, gouache and ink unconfirmed: 2000 x 2600 mm Presented by the artist 2008 T12838

associated with Wilhelm Sasnal born 1972

See Pawel Althamer

Thomas Scheibitz born 1968

90 Elements 2007

Oil on canvas unconfirmed: 1820 x 3650 mm Purchased from Tanya Bonakdar Gallery, New York with funds provided by the Nicholas Themans Trust 2009 T12848

Thomas Schütte born 1954

Four Sisters in the Bath 1989

Vier Schwestern im Bad Brick, pebbles, terracotta, polyurethane foam, wax , pigments and sand object: 370 x 2210 x 1910 mm Purchased from the Annick and Anton Herbert Collection with assistance from Tate Members 2008 T12807

Architectural Models 2006

Architektur Modelle 28 etchings and nyloprints on paper support: each 767 x 533 mm Overall display dimensions variable number 25 in an edition of 35 plus 5 artist's proofs Purchased from Frith Street Gallery, London 2008 P79358

copyright agent Stuart Shave/Modern Art (London, UK)

See Linder

David Shrigley born 1968

Light Switch 2007

Single screen projection with sound duration: 1min, 29sec Artist proof from an edition of 6 plus 1 artist's proof Purchased from Stephen Friedman Gallery, London 2008 Image © David Shrigley T12818

Stop It 2007

Acrylic on metal object: 1423 x 900 x 950 mm Purchased from Stephen Friedman Gallery, London 2008 Image © David Shrigley T12819

Taryn Simon born 1975

An American Index of the Hidden and Unfamiliar Purchased from Gagosian Gallery, London 2008 P79735-P79740; X23759-X23760

Nuclear Waste Encapsulation and Storage Facility, Cherenkov Radiation Hanford Site, U.S. Department of Energy Southeastern Washington State 2007

C-type print on paper image: 650 x 839 mm number 7 in an edition of 7 plus 2 artist's proofs P79735

The Central Intelligence Agency, Art CIA Original Headquarters Building Langley, Virginia 2007


Transatlantic Sub-marine Cables Reaching Land VSNL International Avon, New Jersey 2007


U.S. Customs and Border Protection, Contraband Room John F. Kennedy International Airport Queens, New York 2007


Jury Simulation, Deliberation Room with Two-Way Mirror DOAR Litigation Consulting Lynbrook, New York 2007


The Ten Commandments, Buried "City of the Pharaoh" Film Set Nipomo Sand Dunes Guadalupe, California 2007


Jane Simpson



















































born 1965


Swiss Cottage 2008

Lithograph and silk-screen on paper image: 361 x 302 mm number 19 in an edition of 60 P79387

Bob and Roberta Smith born 1963


I was Hansel in the school play 2008

Woodcut on paper image: 257 x 323 mm number 19 in an edition of 60 Image © Bob and Roberta Smith P79390

Keir Smith 1950-2007

Paolo 2001

Patinated bronze unconfirmed: 198 x 36 x 36 mm Presented by the artist's estate 2008 T12847

Kiki Smith born 1954


Blue Girl 2008

Etching on paper image: 365 x 298 mm number 19 in an edition of 60 P79393

associated with Monika Sosnowska born 1972

See Pawel Althamer

Tony Swain born 1967

Jesus Help Me Find My Property 2007

Acrylic on newsprint support: 760 x 3190 mm frame: 860 x 3237 x 55 mm Purchased from Herald St, London with funds provided by the Nicholas Themans Trust 2009 Image © Tony Swain T12817

Swoon born 1977

Argentina 2007

Etching and screenprint on medium weight off-white wove paper image: 552 x 535 mm number 1 in an edition of 95 plus 10 artist's proofs Presented by Black Rat Press 2008 P79734

Nedko Solakov born 1957

A Life (Black and White) 1998-

Performance comprising two workers constantly repainting the walls of the exhibition space in black and white paint, following each other day after day for the duration of the exhibition Overall display dimensions variable number 5 in an edition of 5 plus 1 artist's proof Purchased from the artist with assistance from a private donor 2009 T12900

Back to top

Javier Téllez born 1969

La Passion de Jeanne d'Arc (Rozelle Hospital, Sydney) 2004

Two channel colour video, sound duration: 40min, 55sec duration: 97min, 2sec Edition of 5 plus 1 artist proof Purchased with funds provided by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 T12929

Robert Therrien born 1947

No Title (Scrubbrush panel) 1997

Unique photograph with graphite, chalk, and Japan colour drawing on paper on panel unconfirmed: 1209 x 1611 x 65 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00168

RED ROOM 2000-07

Installation with 888 red objects installed as in walk-in closet displayed (internal room dimensions): 2438 x 1956 x 2667 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00702

No Title (Table and Four Chairs) 2003

Painted aluminium, steel, wood and plastic unconfirmed: table: 2700 x 4720 x 3660 mm; unconfirmed: chairs, each: 3000 x 1580 x 1880 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00166

No Title (Large Red Brick Drawing) 2003

Found brick paper support: 606 x 700 mm unique ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00169

No Title (Oil Can) 2004

Stainless steel unconfirmed: 2460 x 530 mm number 3 in an edition of 5 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00167

Matthew Tickle born 1964


Nowhere 2007

Archival digital inkjet on Hahnemühle Photorag bright white 310 gsm paper image: 297 x 420 mm number 10 in an edition of 25 Image © Matthew Tickle, courtesy Matt's Gallery, London P79371

Rirkrit Tiravanija born 1961

Untitled, 2005 (sleep on earth, eat on sand) 2005

Untitled, 2005 (non-gab-din, kim-gab-sai) Contractor's shed, 4 gascookers, thai style mats, metal, wood, plastic, polystyrene, rubber, paper and food Shed, unconfirmed: 3000 x 2000 x 3000 mm Overall display dimensions variable Purchased from Neugerriemschneider Galerie, Berlin with assistance from Tate International Council 2009 T12899

Mark Titchner born 1973

We Want Strong Leadership 2004

Archival print on aluminium support: 2930 x 2395 mm Presented by Charles Asprey 2009 Image © Mark Titchner, courtesy Vilma Gold, London P79774

Suzanne Treister


Alchemy/The Sun 19th April 2007 2007

Photo etching on Velin Arches 400gsm cream paper image: 297 x 210 mm number 10 in an edition of 25 Image © Suzanne Treister P79372

Armando Andrade Tudela born 1975

Casas Alteradas 2006

Double 35 mm slide projection Overall display dimensions variable number 2 in an edition of 3 plus 2 artist's proofs Purchased from Carl Freedman Gallery London with funds provided by the 2006 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2007 Image © Armando Andrade Tudela T12771

Gavin Turk born 1967


Melancholia 2008

Etching on paper image: 303 x 360 mm number 19 in an edition of 60 P79395

Alison Turnbull born 1956


Plant Bands and Systematic Sections 2007

Archival inkjet on Hahnemühle Museum Etching 350gsm paper image: 168 x 295 mm number 10 in an edition of 25 Image © Alison Turnbull, courtesy Matt's Gallery, London P79373

Cy Twombly born 1928

Souvenir de L'Ile des Saintes 1979

Eight-part watercolour and gouache on paper support, each: 252 x 287 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00181

Back to top

Francis Upritchard born 1976


Clan of Rob 2008

Giclee print and silk-screen glaze on paper image: 360 x 297 mm number 19 in an edition of 60 P79388

João Pedro Vale born 1976

The Party Was Great, Yes 2006

Foi bonita a festa, pá Wood, glass, plastic, metal bottle caps and string object: 1050 x 1050 x 5200 mm Presented by Eduardo Leme 2008 T12856

Anton Vidokle born 1965

New 2003

Nuevo Single channel video projection, colour, with audio track duration: 3 min 26 sec Overall display dimensions variable number 2 in an edition of 4 plus 1 artist's proof Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 T12914

Bill Viola born 1951

Catherine's Room 2001

Colour video on five LCD panels displayed: 381 x 2460 x 570 mm Artist's proof aside from the edition of 6 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00042

Four Hands 2001

Video on four LCD panel displays displayed: 230 x 1300 x 205 mm number 10 in an edition of 12 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00043

Tris Vonna-Michell born 1982

<> > 2008

Reel to reel tape, porcelain and ink on paper Overall display dimensions variable Purchased from Cabinet Gallery, London with funds provided by the 2008 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2009 T12878

Kara Walker born 1969

Grub for Sharks: A Concession to the Negro Populace 2004

Cut paper Overall display dimensions variable Presented by the American Fund for the Tate Gallery 2009 Image © Kara Walker T12906

Mark Wallinger born 1959

Where There's Muck 1985

Oil, acrylic, charcoal, cellulose on metal and plywood unconfirmed: 3350 x 7000 mm Purchased from Anthony Reynolds Gallery, London with assistance from the Millwood Legacy and a private donor 2009 Image © Mark Wallinger T12798

Royal Ascot 1994

4 channel colour video, sound, travelling cases and speakers Overall display dimensions variable number 1 in an edition of 3 plus 1 artist's proof Purchased from Anthony Reynolds Gallery, London with funds provided by Tate Members 2009 Image © Mark Wallinger T12810

Threshold to the Kingdom 2000

Single channel video projection, sound duration: 11min, 12sec number 6 in an edition of 10 plus 1 artist's proof Purchased from Anthony Reynolds Gallery, London with funds provided by Tate Members 2009 Image © Mark Wallinger T12811

Andy Warhol 1928-1987

Cano 1948

Pen and ink and gouache on off-white paper 229 x 152 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00265

"The Nation's Nightmare" 1951

Pen and ink, graphite and acetate on Strathmore paper unconfirmed: 587 x 365 mm frame: 680 x 550 x 28 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00240

"Pistols for Two" 1951

Pen and ink, graphite and tempera on Strathmore paper collage 220 x 256 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00261

A Field of Blue Children 1951-52

Acrylic on paper 638 x 488 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00589

Embracing Couple with Marbleised Background 1952

Pen and ink and ink wash on Strathmore paper frame: 680 x 550 x 28 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00241

Female Bust, Two Children with Marbleised Background 1952

Pen and ink and ink wash on Strathmore paper frame: 912 x 750 x 28 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00242

"The Runaway Pigeon" 1953

Pen and ink and graphite on Strathmore paper 302 x 267 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00243


Pen and ink and graphite on Strathmore paper 273 x 232 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00244

"A Hand of Bridge" 1953

Pen and ink, graphite and Dr. Martin's Aniline Dye on Strathmore paper 547 x 352 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00245

Musical Notes and Sprite Faces 1953

Pen and ink and Dr. Martin's Aniline Dye on ivory paper 453 x 364 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00246


Pen and ink and paper collage on Strathmore paper 272 x 202 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00266

"Town and Country" 1954

Ink wash and and Dr. Martin's Aniline Dye on Strathmore paper 392 x 358 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00247

Chess Player 1954

Pen and ink and Dr. Martin's Aniline Dye on Strathmore paper 583 x 466 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00248

Young Man with Heart 1954


AR00260

Happy Butterfly Day 1955


AR00249

Tondo (Butterflies) 1955


AR00250

Blue Shoe 1955

Pen and ink and Dr. Martin's Aniline Dye on Strathmore paper, two parts 370 x 980 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00251

Foot with Cat 1955-57

Pen and ink on manila paper 422 x 350mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00259

"The Summer Dancers" 1955

Pen and ink, printed ink and Dr. Martin's Aniline Dye on ivory laid paper 225 x 315 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00262

"The Summer Dancers" 1955

Pen and ink, printed ink and Dr. Martin's Aniline Dye on paper ivory laid paper 225 x 320 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00263

Boy with Flowers 1955-57

Pen and ink on manila paper 425 x 350 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00271

Resting Boy 1955-57

Pen and ink on manila paper unconfirmed: 425 x 352 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00272

Shoes and Roses 1956

Pen and ink, Dr. Martin's Aniline Dye and collage on ivory paper 450 x 323 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00268

Male Torso 1956

Pen and black ink on manila paper 422 x 346 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00269

Boy Licking his Lips 1956

Pen and ink on paper unconfirmed: 422 x 139 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008
























































AR00590

Boy with Thumb in Mouth 1956

Pen and ink on paper unconfirmed: 435 x 356 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00591

Baboon 1957

Pen and ink and gold leaf on paper and pen and ink on coloured paper, two parts 450 x 711 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00252

Hand Holding Glass with Daffodil 1957

Pen and ink and gold leaf on paper, two parts unconfirmed: 460 x 559 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00253

Here Lies the Heart 1957

Pen and ink on coloured graphic art paper 305 x 216 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00264

Christmas Sewing Theme 1957


AR00267

Woman with Hat 1957

Gold leaf and pen and ink on Strathmore paper 737 x 581 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00281

Instruments with Hands 1957

Pen and ink and Dr. Martin's Aniline Dye on Strathmore paper on board unconfirmed: 470 x 640 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00612

Hot Air Balloon 1958


AR00254

Foot with Flowers 1958

Pen and ink on ivory paper 432 x 348 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00258

Six Handbags 1958

Pen and ink and tempera on Strathmore paper 340 x 300 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00270

Abstract Stencilled Images 1958

Pen and ink on Strathmore paper 737 x 584 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00273

Head with Flowers 1958

Pen and ink and coloured ink wash on paper 581 x 356 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00274

Head of a Girl and Children 1958-61

Graphite and gouache on Strathmore paper 736 x 584 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00282

Ice Cream Dessert 1959

Ink and dye on Strathmore paper 737 x 356 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00255

Head with Red Gloves and Butterfly 1959

Pen and ink and coloured ink wash on paper 584x359 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00275

Boy with Stars and Stripes 1959


AR00277

Fashion Accessories 1959

Pen and ink on Strathmore paper 559 x 464 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00278

Hats 1959

Pen and ink and coloured ink wash on paper unconfirmed: 438 x 584 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00280

"The Wonderful World of Fleming Joffe" 1960

Pen and ink, collage and snakeskin on Strathmore paper 499 x 362 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00256

Stars and Half Moons 1960

Pen and ink and Dr. Martin's Aniline Dye on ivory paper 310 x 203 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00257

Rooster with Coca Cola Bottle 1960


AR00276

Shoe and Handbag 1960

Graphite and gouache on paper 610 x 457 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00279

People 1960-62

Graphite, Dr. Martin's Aniline Dye and gouache on Strathmore paper 580 x 732mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00283

Man and Woman and Two Chairs 1960-62

Graphite and gouache on Strathmore paper 587 x 737 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00284

Female Figures and Fashion Accessories 1960

Ink and Dr. Martin's Aniline Dye on Strathmore paper on board 470 x 660 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00285

Marilyn Monroe 1962

Lithographic poster on paper unconfirmed: 559 x 724 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00319

Photo de Film (Grimace) 1962-97

Lithographic poster on paper support: 945 x 630 mm frame: 1030 x 710 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00413

Liz 1965

Screenprinted poster on paper support: 635 x 708 mm frame: 700 x 777 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00320

Steve Paul's THE SCENE Poster 1966

Screenprinted poster on paper support: 556 x 355 mm frame: 625 x 422 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00324

Andy Warhol's 'The Chelsea Girls' 1966


AR00328

Chelsea Girls 1967


AR00325

Andy Warhol Paul Morrissey and Viva! circa 1967


AR00327

Lincoln Center Ticket 1967


AR00414

Man Ray 1967


AR00415

Conspiracy Means to Breathe Together 1969


AR00323

Andy Warhol's TRASH 1971


AR00321

Andy Warhol's PORK 1971


AR00322

Andy Warhol's BLUE MOVIE 1971


AR00383

Andy Warhol's BLUE MOVIE 1971


AR00384

Alexandre Iolas 1972

Acrylic and silkscreen ink on canvas, diptych support: 1017 x 1017 x 29 mm support: 1017 x 1017 x 27 mm frame (each): 1097 x 1088 x 70 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00230

Man Ray 1974

Acrylic and silkscreen ink on canvas, diptych support: 356 x 280 x 20 mm support: 355 x 280 x 20 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00039

Man Ray 1974


AR00326

Andy Warhol's Frankenstein 1974


AR00329

MAN ON THE MOON: A New Musical 1974


AR00419

David Hockney 1974

Pencil on paper 1035x732mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00592

Gilbert and George 1975

Acrylic and silkscreen ink on canvas, diptych support: 1022 x 1019 x 21 mm support: 1018 x 1018 x 21 mm frame (each): 1091 x 1091 x 73 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00040

Mick Jagger 1975

Pencil on paper 1041 x 714 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00593

Self-Portrait 1976-86

Six stitched black and white photographs 695 x 804 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00286


Two unique Polaroid colour photographs image, each: 95 x 72 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00316


Two unique Polaroid colour photographs image, each: 95 x 72 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00317

Willy Brant 1976


AR00420

Russell Means 1976


AR00421

Cow 1976


AR00466

Skulls 1976

Six-part acrylic and silkscreen ink on canvas support, each: 383 x 483 x 18 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00609

Self-Portrait in Dark Suit 1977-78

Unique Polaroid colour photograph image: 94 x 72 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00302

Self-Portrait in Interview T-shirt 1977-78


AR00303

Self-Portrait in Blue Shirt 1977-78


AR00304

Self-Portrait with Hand to Cheek 1977-78


AR00305

Russell Means 1977


AR00330

Mao 1977

Lithographic poster on paper support: 940 x 610 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00331

Torsos 1977


AR00424

Torsos 1977


AR00425

Andy Warhol's OND 1977


AR00426

Andy Warhol's Lonesome Cowboys 1978


AR00332

Andy Warhol's Lonesome Cowboys 1978

Lithographic poster on paper frame: 540 x 363 x 38 mm support: 473 x 397 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00334

Muhammad Ali by Andy Warhol 1978

Lithographic poster on paper support: 765 x 610 mm frame: 830 x 676 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The



































































d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00394

Andy Warhol 1978


AR00418

Endangered Species Series 1978


AR00427

Self-Portrait 1978

Acrylic and silkscreen ink on canvas support: 408 x 333 x 20 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00501

Self-Portrait Strangulation 1978

Acrylic and silkscreen on canvas support: 408 x 331 x 18 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00503

Self-Portrait with Skull 1978


AR00610

Andy Warhol's Exposures 1979


AR00340

Russell Means 1979


AR00422

Russell Means 1979


AR00423

Mick Jagger 1980


AR00428

Summer Arts in the Parks 1980


AR00429

Portrait of Joseph Beuys 1980


AR00587

Tongue in Ear 1980

Pencil on paper 802 x 600 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00595

Gun 1981

Two-part acrylic and silkscreen ink on canvas support, each: 1782 x 2286 x 40 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00231

Self-Portrait in Dark Suit and Plaid Shirt 1981


AR00306

Self-Portrait in a Dark Suit and Plaid Shirt 1981


AR00307

Self-Portrait with Platinum Bouffant Wig 1981


AR00308

Self-Portrait with Reddish Blonde Wig 1981


AR00309

Self-Portrait with Platinum Pageboy Wig 1981


AR00310

Self-Portrait in Profile with Shadow 1981


AR00311

The Star 1981

Lithographic poster on paper ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00431

The Art of Giving 1981


AR00432

Kimiko Powers 1981


AR00433

The Shoe Series 1981


AR00434

Dollar Sign 1981


AR00502

The Shadow 1981

Graphite on paper unconfirmed: 800 x 610 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00594

Andy Warhol 1982


AR00333

Mickey Mouse 1982


AR00335

Andy Warhol Fotografier 1982


AR00435

Andy Warhol Fotografier 1982

Lithographic poster on paper support: 1000 x 700 mm frame: 1080 x 780 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00436

Castelli Gallery 1982


AR00437

Andy Warhol 1982


AR00438

Goethe 1982


AR00439

Goethe 1982 1982


AR00440

City Gallery 1982


AR00441

Halston 1982


AR00442

Halston 1982


AR00443

Halston 1982


AR00444

Halston 1982


AR00445

Marx Brothers 1982


AR00446

Robert Mapplethorpe 1983


AR00232

Marilyn Monroe 1983


AR00336

Rats and Star 1983


AR00447

Rats and Star 1983


AR00448

The Brooklyn Bridge 1883-1983 1983


AR00449

Candy Box Heart 1983


AR00450

Siberian Tiger 1983


AR00451

Ryuichi Sakamoto 1984


AR00338

The New Portrait 1984


AR00452

Ryuichi Sakamoto 1983 1984


AR00453

Ryuichi Sakamoto 1983 1984


AR00454

Ryuichi Sakamoto 1984


AR00455

Levi's 501 Jeans 1984


AR00456

Hamburger 1985-86

Two-part acrylic and silkscreen ink on canvas support, each: 1832 x 2037 x 33 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00233

Repent and Sin No More! 1985-86

Acrylic and silkscreen ink on canvas, diptych support, each: 2033 x 1834 x 32 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00234

Map of Eastern U.S.S.R. Missile Bases circa 1985-86


AR00235

Are You Different? circa 1985-86


AR00236

Energy - Power circa 1985-86


AR00237

The Mark of the Beast circa 1985-86


AR00238

Christ $9.98 (negative and positive) 1985-86


AR00239

JM Magazine circa 1985


AR00337

Marilyn Monroe 1985


AR00341

Rain Dance 1985


AR00457

Campbell's Soup Box 1985 1985


AR00458

Global Art Fusion 1985


AR00459

Black and White Flowers 1985

Screenprinted poster on paper support: 710 x 558 mm


































































frame: 777 x 625 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00460

Warhol/Basquiat Paintings 1985


AR00461

Paratrooper Boots 1985-86

Acrylic and silkscreen ink on canvas, two parts support, each: 2034 x 1476 x 33 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00588

Statue of Liberty 1986

Six stitched black and white photographs 695 x 805 mm. Six photographs, ea: 353x275mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00287

Dissection Class 1986

Six stitched black and white photographs unconfirmed: 711 x 838 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00288

I am blind 1986

Nine stitched black and white photographs unconfirmed: 1067 x 838 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00289

Grace Jones 1986

Nine stitched black and white photographs unconfirmed: 1067 x 838 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00290

Grace being painted by Keith 1986

Six stitched black and white photographs 695 x 805 mm; 6 photographs, ea. 353 x 725 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00291

Cough 1986

Six stitched black and white photographs displayed: 804 x 692 mm support, each: 279 x 353 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00292

Cadaver 1986

Six stitched black and white photographs 803 x 694 mm; six photographs, ea: 353 x 275 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00293

Venus in Shell 1986

Four stitched black and white photographs 699 x 542 mm; four photographs, ea. 353 x 275 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00294

Sunday Brunch 1986


AR00295

No Parking 1986


AR00296

Trash Cans 1986

Four stitched black and white photographs 698 x 543 mm. four photographs, ea. 353 x 275 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00297

Self-Portrait with Fright Wig 1986


AR00312



AR00313



AR00314



AR00315

Camouflage 1986

Four-part acrylic and silkscreen on canvas unconfirmed, four parts, each: 1830 x 1830 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00611

Male Nude 1987

Four stitched black and white photographs unconfirmed: 711 x 559 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00298

Male Nude 1987

Four stitched black and white photographs unconfirmed: 711 x 559 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00299

Male Nude 1987

Four stitched black and white photographs support: 695 x 540 mm frame: 940 x 768 x 20 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00300

Male Nude 1987

Four stitched black and white photographs support: 696 x 540 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00301

New York, New York 1987


AR00339

Neuschwanstein 1987

Lithographic poster on paper ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00462

Mick Jagger in Japan 1988


AR00463

The Films of Andy Warhol 1988


AR00464

The Cinema of Andy Warhol 1990

Il Cinema di Andy Warhol Lithographic poster on paper support: 908 x 590 mm frame: 999 x 675 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00465

Andy Warhol's BAD

Screenprinted poster on paper support: 760 x 1014 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00318

Andy Warhol's Dracula


AR00365

Any Warhol's Dracula


AR00366

Pistolas, Cuchillos, Cruces


AR00367

WOMEN IN REVOLT!


AR00368

Fur die Grunen


AR00369

Andy Warhol - Fur die Grunen


AR00370

Andy Warhol presents: HEAT


AR00371

Joe Dallesandro and Sylvia Miles in HEAT


AR00372

Querelle


AR00373

Querelle


AR00374

Querelle


AR00375

Querelle


AR00376

Andy Warhol's FLESH


AR00377

Andy Warhol PRESENTS Joe Dallesandro in FLESH


AR00378

Andy Warhol's FLESH


AR00379

Andy Warhol's TRASH


AR00380

Andy Warhol's BLUE MOVIE


AR00381

Andy Warhol's BLUE MOVIE


AR00382

Pop-Op Rock


AR00385

Andy Warhol's BAD


AR00386

Andy Warhol's BAD


AR00387

Andy Warhol's BAD


AR00388

Athletes by Andy Warhol


AR00389

Joseph Beuys


AR00390

Absolut Vodka


AR00391

Willie Shoemaker


AR00392

Muhammad Ali

Lithographic poster on paper 886 x 538 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00393

Space Fruit


AR00395

Reigning Queens


AR00396

Fashion as Fantasy


AR00397

Kunsthalle Tubingen


AR00398

H.C. Andersen 1987


AR00399

H.C. Andersen 1987

Screenprinted poster on paper support: 820 x 599 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00400

H.C. Andersen 1987


AR00401

H.C. Andersen 1987


AR00402

LeRoy Neiman and Andy Warhol

Lithographic poster on paper object: 495 x 686 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00403

Perrier


AR00404

Perrier


AR00405

Art and Science - Vanishing Animals


AR00406

Vanishing Animals






































































AR00407

Some Men Need Help


AR00408

The Beatles


AR00409

Eight by Eight to Celebrate the Temporary Contemporary


AR00410

La Grande Passion


AR00411

A (black A)


AR00412

Warhol: Artist/Filmmaker

Half-tone print on paper support: 609 x 457 mm frame: 679 x 526 x 38 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00416

Brillo


AR00417

Andy Warhol / Joseph Beuys


AR00430

Rebecca Warren born 1965

In The Bois 2005

Wood, MDF, Perspex, Neon gas, glass, plastic, wool, polystyrene, clay, nylon and paint displayed: 580 x 1603 x 322 mm Purchased from Matthew Marks Gallery, New York with funds provided by Tate Patrons 2008 Image © Rebecca Warren, courtesy Maureen Paley, London T12816

Lawrence Weiner born 1942

STRAIGHT DOWN TO BELOW 1988

Text Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © Lawrence Weiner

AR00131

FIRE AND BRIMSTONE IN A HOLLOW FORMED BY HAND 1988


AR00132

SILVER THREADS ENTWINED IN THREADS OF GOLD 1988


AR00133

TAKEN UP WITH 1988


AR00134

WIPED OFF THE FACE OF THE EARTH 1988


AR00135

TIED UP IN KNOTS 1988


AR00136

TUCKED IN AT THE CORNERS 1988


AR00137

ROUGHLY RIPPED APART 1988


AR00138

DAUBED WITH MUCK AND MIRE 1988


AR00139

CRUSHED BETWEEN COBBLESTONES 1988

Text Overall display dimensions variable ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008

AR00140

Rachel Whiteread born 1963


Storytime 2008

Lithograph on paper image: 225 x 300 mm number 19 in an edition of 60 Image © Rachel Whiteread P79391

Cathy Wilkes born 1967

(We Are) Pro Choice 2008

Shop mannequin, toilet, ladder, cooker, ceramic tiles, burnt steps, bowl, food, wire, twine, silver parcel string, bells and rosebuds Overall display dimensions variable Purchased from The Modern Institute/Toby Webster Ltd, Glasgow with funds provided by Tate Members 2009 T12823

Francesca Woodman 1958-1981

Untitled 1975-1980

Black and white silver gelatin print on paper image: 109 x 109 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © The estate of Francesca Woodman

AR00347

Space², Providence, Rhode Island, 1975-1978 1975-1978


AR00349

Space², Providence, Rhode Island, 1975-1978 1975-1978


AR00350

Untitled 1975-1980


AR00351

Untitled 1975-1980


AR00355

Untitled 1975-1980


AR00356

Untitled 1975-1980


AR00357

Untitled 1975-1980


AR00358

Untitled 1975-1980


AR00359

Untitled 1975-1980


AR00360

Untitled 1975-1980


AR00361

Untitled 1975-1980

Black and white positive transparency image: 98 x 105 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 Image © The estate of Francesca Woodman

AR00362

Untitled 1975-1980


AR00363

Providence, Rhode Island, 1976 1976


AR00352

Eel Series, Roma, May 1977 - August 1978 1977-1978


AR00348

Italy, May 1977 - August 1978 1977-1978


AR00353

From Angel Series, Roma, September 1977 1977


AR00354

Untitled (FW crouching behind umbrella) c.1980


AR00364

Christopher Wool born 1955

Untitled (You Make Me) 1997

Enamel on aluminium support: 2375 x 1827 x 28 mm Presented by the American Fund for the Tate Gallery, courtesy of Donald L. Bryant Jr and family in memory of Monique Beudert 2009 T12905

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Xu Zhen born 1977

8848 - 1.86 2005

Mountain peak in container; mountaineering equipment; video, colour, with audio track; photographs duration: 8min, 11sec Overall display dimensions variable Purchased from ShanghART, Shanghai with funds provided by the Asia Pacific Acquisitions Committee 2008 T12853

Jack Butler Yeats 1871-1957

A Rose Among Many Waters 1952

Oil on canvas unconfirmed: 915 x 1220 mm Bequeathed by Peter and Caroline Barker Mill 2007, accessioned 2009 Image © The estate of Jack Butler Yeats T12918

Akram Zaatari born 1966

Objects of Study/The archive of studio Shehrazade/Hashem el Madani/Studio Practices Purchased from Galerie Sfeir-Semler, Hamburg and Beirut, with funds provided by Tate International Council 2008 P79396-P79512

Syrian resistant. Studio Shehrazade, Saida, Lebanon, early 1970s. Hashem el Madani 2007

Gelatin silver print on paper image: 291 x 289 mm number 7 in an edition of 7 plus 2 artist's proofs Image © Akram Zaatari, courtesy Hashem el Madani and Arab Image Foundation, Beirut P79396





















































Syrian resistants. Studio Shehrazade, Saida, Lebanon, early 1970s. Hashem el Madani 2007






Anonymous. Studio Shehrazade, Saida, Lebanon, late 1960s. Standard profile portrait, mandatory for candidates to military service. Hashem el Madani 2007


Anonymous. Studio Shehrazade, Saida, Lebanon, late 1960s. Standard frontal portrait, mandatory for candidates to military service. Hashem el Madani 2007


Sha'ia Studio Shehrazade, Saida, Lebanon, 1970s. Hashem el Madani 2007


Anonymous. UNRWA school, South Lebanon, 1960s. Hashem el Madani 2007

























Gelatin silver print on paper image: 190 x 289 mm number 7 in an edition of 7 plus 2 artist's proofs P79418







Kulthum Saqqa. Saqqa family house, Saida, Lebanon, 1948-53. Hashem el Madani 2007


A fisherman with his daughters. Saqqa family house, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Anonymous. Client's home, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Anonymous. Client's home, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Student of Aisha Om el Mo'minin School for Girls. School courtyard, Saida, Lebanon, 1948-49. Hashem el Madani 2007






Students of Aisha Om el Mo'minin School for Girls. Ibtissam Hashisho (right) and a school friend. School courtyard, Saida, Lebanon, 1948-49. Hashem el Madani 2007


Students of Aisha Om el Mo'minin School for Girls. Sakakini (right) and Hadiyeh Bsat. School courtyard, Saida, Lebanon, 1948-49. Hashem el Madani 2007


Student of Aisha Om el Mo'minin School for Girls. Haydar. School courtyard, Saida, Lebanon, 1948-49. Hashem el Madani 2007


Students and teachers of Aisha Om el Mo'minin School for Girls. Wadiah Lofty (right) and a school teacher colleague. School courtyard, Saida, Lebanon, 1948-49. Hashem el Madani 2007




Anonymous. South Lebanon, 1952. Hashem el Madani 2007
































Abu Zahr and his wife. Studio Shehrazade, Saida, Lebanon, 1973-74. Hashem el Madani 2007


Palestinian couple from Ain El Helweh. Studio Shehrazade, Saida, Lebanon, 1973-74. Hashem el Madani 2007


Couple from Iqlim El Kharrub. Studio Shehrazade, Saida, Lebanon, 1973-74. Hashem el Madani 2007


Anonymous. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Amin Hijazi (left) and his cousin Gharamti. Studio Shehrazade, Saida, Lebanon, 1950s-1960s. Hashem el Madani 2007


Anonymous. Madani's parents' home, the liwan, Saida, Lebanon, 1949-53. Hashem el Madani 2007


Hnayneh Madani's parents' home, the liwan, Saida, Lebanon, 1948-53. Hashem el Madani 2007

Gelatin silver print on paper image: 191 x 288 mm number 7 in an edition of 7 plus 2 artist's proofs Image © Akram Zaatari, courtesy Hashem el Madani and Arab Image Foundation, Beirut


























































P79456

Anonymous. Madani's parents' home, the liwan, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Hayat Sanioura. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Baqari's wife. Studio Shehrazade, Saida, Lebanon, 1957. Hashem el Madani 2007


Baqari's wife. Studio Shehrazade, Saida, Lebanon, 1957. Hashem el Madani 2007


Palestinian resistant. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Zarif, a Palestinian resistant. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Ringo, a Palestinian resistant. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Ringo, a Palestinian resistant. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Hassan Jawhar. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Reesh. Studio Shehrazade, Saida, Lebanon, late 1960s. Hashem el Madani 2007






Anonymous. Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007


Abu Jalal Dimassy (centre) and two of his friends acting out a hold-up. Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007


Anonymous. Studio Shehrazade, Saida, Lebanon, 1960. Hashem el Madani 2007


Palestinian resistant. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Palestinian resistants. Studio Shehrazade, Saida, Lebanon, 1968-72. Hashem el Madani 2007


Palestinian with his guitar. Studio Shehrazade, Saida, Lebanon, early 1970s. Hashem el Madani 2007


Anonymous. Studio Shehrazade, Saida, Lebanon, 1972. Hashem el Madani 2007










Two young men from Aadloun. Studio Shehrazade, Saida, Lebanon, 1966. Hashem el Madani 2007


Jradi (left) and a friend. Studio Shehrazade, Saida, Lebanon, early 1970s. Hashem el Madani 2007


Najm. Studio Shehrazade, Saida, Lebanon, 1956. Hashem el Madani 2007


Ahmad el Abed, a tailor, and his brother. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Ahmad el Abed, a tailor. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Ahmad el Abed's sister. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Ahmad el Abed, a tailor. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Ahmad el Abed, and his friend Rajab Arna'out. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Son of Lebanese residents in an African country, and a relative. Studio Shehrazade, Saida, Lebanon, 1970s. Hashem el Madani 2007




Anonymous. Studio Shehrazade, Saida, Lebanon, early 1970s. Hashem el Madani 2007




Tarho and El Masri. Studio Shehrazade, Saida, Lebanon, 1958. Hashem el Madani 2007


Bashasha (left) and a friend. Studio Shehrazade, Saida, Lebanon, late 1950s. Hashem el Madani 2007


Palestinian girl writing a letter to her lover. Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007




Najm (left) and Asmar (right). Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007




Anonymous. Studio Shehrazade, Saida, Lebanon, 1980-82. Hashem el Madani 2007


A student. Studio Shehrazade, Saida, Lebanon, 1970s. Hashem el Madani 2007


A girl and her brother. Studio Shehrazade, Saida, Lebanon, 1960s. Hashem el Madani 2007


Twins. Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007


Twins. Studio Shehrazade, Saida, Lebanon, 1950s. Hashem el Madani 2007






A man from Ghazieh and his daughter. Studio Shehrazade, Saida, Lebanon, late 1950s. Hashem el Madani 2007




Two Palestinian sisters. Studio Shehrazade, Saida, Lebanon, 1960s. Hashem el Madani 2007




Woman from Tyr. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


Muwafaq el Rawas, now a Sheikh. Madani's parents' home, the studio, Saida, Lebanon, 1948-53. Hashem el Madani 2007


























































Mursi (right) and a friend. Studio Shehrazade, Saida, Lebanon, 1958. Hashem el Madani 2007


Nature Morte 2008

Tabiaah Samitah Video projection, colour, with audio track duration: 11min number 2 in an edition of 5 plus 1 artist's proof Purchased from Galerie Sfeir-Semler, Hamburg with funds provided by the 2008 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2009 T12891

Toby Ziegler born 1972

Vanity Press 2005

Inkjet print, Chinese ink and correction fluid on paper frame: 1250 x 1820 x 142 mm Purchased from Simon Lee Gallery, London with funds provided by Tate Members 2009 Image © Toby Ziegler, courtesy Simon Lee Gallery T12813

associated with Jakub Julian Ziolkowski born 1980

See Pawel Althamer

associated with Artur Zmijewski born 1966

See Pawel Althamer

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Loans to the Collection

Eleanor Antin born 1935

Blood of a Poet Box 1965-8

Wood box containing one hundred glass slides of blood specimens and specimen list unconfirmed: 292 x 197 x 38 mm Lent by the American Fund for the Tate Gallery 2009 L02859

Francis Bacon 1909-1992

Gouache 1929

Gouache and watercolour on paper support: 355 x 250 mm Lent from a private collection 2009 L02865

Painting c.1929-30

Oil on canvas support: 915 x 610 mm Lent from a private collection 2009 L02866

Painted Screen c.1929

Oil on three wooden panels support: 1830 x 610 mm each Lent from a private collection 2009 L02867

Rug c.1929

Wool object: 2130 x 1250 x 10 mm Lent from a private collection 2009 L02868

Rug c.1929


Rug c.1929


Georg Baselitz born 1938

Hand 2007

Oil on primed linen unconfirmed: 2500 x 2000 mm Unique Lent from a private collection 2009 L02879

Mel Bochner born 1940

36" Latitudinal Projection 1969

Installation comprising of a square of brown wrapping paper, self adhesive vinyl letters and black 'crepe' tape. Overall display dimensions variable Lent by the American Fund for the Tate Gallery 2009 L02871

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André Carneiro born 1922

Rails 1950

Trilhos Premium laser photo paper with ultra chrome ink, modern print from original print unconfirmed: 305 x 400 mm Lent by the American Fund for the Tate Gallery, courtesy of Ellas Fontanals Cisneros 2008 L02847

Leonora Carrington born 1917

Eluhim 1960


Minerva Cuevas born 1975

Dodgem 2 2000

Dodgem car, vinyl label, digital print on paper overall display dimensions variable Lent by the American Fund for the Tate Gallery, courtesy of of the Latin American Acquisitions Committee, Gerard Cohen, Tiqui Atencio Demirdjian and Ago Demirdjian 2008 L02827

Sir Nathaniel Dance-Holland 1735-1811

James Grant, John Mytton, Thomas Robinson and Thomas Wynn in front of the Colosseum in Rome 1760

Oil on canvas unconfirmed: 981 x 124 mm Lent from a private collection 2009 L02863

Cathy De Monchaux born 1960

Trolley 1987

Wooden ladder and metal toolbox upholstered in velvet with plastic Stepladder: 1855 x 530 x 1180 mm Toolbox: 270 x 700 x 475 mm Lent by the American Fund for the Tate Gallery, courtesy of Sue Stoffel 2008 L02858

Andrea Fraser born 1965

Museum Highlights: A Gallery Talk 1989

Single-channel video, colour with audio track unconfirmed: 29min unlimited edition Lent by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 L02872

Official Welcome (Hamburg Version) 2001/2003

Single-channel video, colour with audio track unconfirmed: 30min unlimited edition Lent by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 L02873

Marcus Gheeraerts II 1561 or 2-1636

Sir Henry Lee 1600


Simryn Gill born 1959

Dalam 2001

258 C-type prints on paper unconfirmed, each: 235 x 235 mm number 4 in an edition of 5 Partially lent by the American Fund for the Tate Gallery, courtesy of David Knaus, and partially purchased from the artist 2008 L02874

Beatriz Gonzalez born 1938

The Last Table 1970

La ultima mesa Enamel on metal plate mounted within metal furniture object: 1050 x 2050 x 750 mm Lent by the American Fund for the Tate Gallery, couresy of the Latin American Acquisitions Committee 2008 L02854

Felix Gonzalez-Torres 1957-1996

"Untitled" 1987

Framed photostat unconfirmed: 203 x 254 mm number 3 in an edition of 3, plus 1 AP Lent by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 L02860

"Untitled" (March 5th) #2 1991

40 watt light bulbs, porcelain light sockets, extension cords overall display dimensions variable Edition of 20 plus 2 AP Lent by the American Fund for the Tate Gallery, courtesy of the American and Latin American Acquisitions Committee 2008 L02861

Sir Herbert James Gunn 1893 - 1964

Portrait of Sir William Oliphant Hutchison circa 1926

Oil on canvas frame: 2223 x 1354 x 75 mm Lent by the artist's estate 2009 L02878

Back to top

Ana Mendieta 1948-1985

Untitled (Self-Portrait with Blood) 1973

Colour photograph on paper image: 242 x 194 mm Lent by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 Image © The estate of Ana Mendieta, courtesy Galerie Lelong, New York L02833

Untitled (Rape Scene) 1973


Untitled (Silueta Series, Mexico) 1974


Untitled (Silueta Series, Mexico) 1976


Robert Morris born 1931

Untitled 1967-8, remade 2008

3/8 inch thick black felt Overall display dimensions variable Lent by the American Fund for the Tate Gallery 2008 L02852

Yoshua Okon born 1970

"Orillese a la Orilla" Lent by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2008 L02855; L02886-L02890

Police I 1999-2000

Single-channel video projection, colour with audio track duration: 4min, 14sec L02855

Osmar Peçanha born 1926

Equilibrium 1951

Equilibrio Premium laser photo paper with ultra chrome ink, modern print from original print unconfirmed: 300 x 400 mm Lent by the American Fund for the Tate Gallery, courtesy of Ella Fontanals Cisneros 2008 L02845

Paulo Pires born 1928

Structure - Cathedral 1954

Estrutura-Catedral Archival cotton paper with ultra chrome ink, modern print from unique original print unconfirmed: 400 x 300 mm Lent by the American Fund for the Tate Gallery, courtest of Ellas Fontanals Cisneros 2008 L02851

Allen Ruppersberg born 1944

Eduardo Salvatore 1914-2006

Forms 1950

Formas Premium laser photo paper with ultra chrome ink, modern print from original print unconfirmed: 300 x 400 mm Lent by the American Fund for the Tate Gallery, courtesy of Ella Fontanals Cisneros 2008 L02846

Keith Sonnier born 1941

Red Flocked Wall 1969

Latex, pigment and sawdust object: 2850 x 1950 x 5 mm Lent by the American Fund for the Tate Gallery 2009 L02857

Rudolf Stingel born 1956

Untitled 2007

Oil and enamel on canvas; triptych support: each 3359 x 2609 mm Partially presented by Sadie Coles HQ, London and partially purchased from Sadie Coles HQ, London using funds provided an anonymous donor and the American Patrons of Tate, courtesy of a group of donors including Gayle and Paul Stoffel, Beth Swofford and Randy W. Slifka L02862

Dalmo Teixeira Filho 1923-1981

Working in the Sky 1950s

Trabalhando no Céu Premium laser photo paper with ultra chrome ink, modern print from unique original print unconfirmed: 298 x 400 mm Lent by the American Fund for the Tate Gallery, courtesy of Ella Fontanals Cisneros 2008 L02848

Grazia Toderi born 1963

Babel Red 2006

Rosso Babele Two channel colour video projection with audio track Channel 1: 58min 43sec Channel 2: 58min 43sec number 5 in an edition of 5 Lent by the American Fund for the Tate Gallery, courtesy of the Heather and Tony Podesta collection 2009 L02875

Richard Tuttle born 1941

Circle 5 2005

Paper, foam core, graphite, oil stick, acetate, construction paper, foil, nails, wood, wire, acrylic cellophane tape, and enamel spray paint unconfirmed: 2146 x 1105 x 127 mm Lent by the American Fund for the Tate Gallery, partial gift from Henry McNeil and partial purchase using funds provided by Lady Lynn Forester de Rothschild 2008 L02838

Kara Walker born 1969

8 Possible Beginnings or: The Creation of African-America, a Moving Picture by Kara E. Walker 2005

Single-screen projection, 16mm film and video transferred to video, black and white, with audio track unconfirmed: 15min, 57sec First of 2 artist's proofs aside from an edition of 5 Lent by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2007 L02826

Judi Werthein born 1967

Brinco 2005

Installation cpmprising of sneakers, wall vinyl, posters and video overall display dimensions variable Lent by the American Fund for the Tate Gallery courtesy of the Latin American Acquisitions Committee 2008 L02856

Christopher Williams born 1956

Cutaway model Switar 25mm f1.4 AR. Glass, wood and brass. Douglas M. Parker Studio, Glendale, California, November 17, 2007 - November 30, 2007 2008

Gelatin silver print on paper frame: 856 x 945 x 40 mm number 6 in an edition of 10 plus 4 artist's proofs Lent by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2009 L02876

Terry Winters born 1949

Scale 2003

Oil on linen support: 1780 x 2211 mm Lent by the American Fund for the Tate Gallery, courtesy of Donald and Catie Marron, 2008 L02837

José Yalenti 1895-1967

Iron Tentacles 1950s

Tentáculos de Ferro Premium laser photo paper with ultra chrome ink, modern print from unique original print unconfirmed: 400 x 300 mm Lent by the American Fund for the Tate Gallery, courtesy of Ella Fontanals Cisneros 2008 L02849

Architecture no. 7 1957

Arquitetura no.7 Premium laser photo paper with ultra chrome ink, modern print from unique original print unconfirmed: 415 x 450 mm Lent by the American Fund for the tate Gallery, courtesy of Ella Fontanals Cisneros 2008 L02850

http://www.tate.org.uk/servlet/ViewWork?acno=L02859










































1

TateTateTateTate Report 2008 Report 2008 Report 2008 Report 2008––––9999: List of : List of : List of : List of Tate Archive AccessionsTate Archive AccessionsTate Archive AccessionsTate Archive Accessions The Art FundThe Art FundThe Art FundThe Art Fund Accruing material covering the range of the Art Fund’s activities, including a large volume of recent acquisition files relating to particular causes and works, 1970s–2000s. Presented by the Chair of the Art Fund, 2008 Added to TGA 9328

Artist Placement Group Artist Placement Group Artist Placement Group Artist Placement Group

Nicholas Tresilian’s papers relating to the APG comprising thirteen separate folders including significant correspondence between Tresilian and John Latham, as well as notes, correspondence and photographs documenting APG’s activities in the UK, Germany and France, 1977–85. Presented by Nicholas Tresilian.

TGA 200812

BANKBANKBANKBANK

The gallery’s extant records, publications and ephemera, 1991–2003. Purchased, 2008.

TGA 200824

Horace BroHorace BroHorace BroHorace Brodzky dzky dzky dzky

1885–1969

Personal archives including memoirs, record books, scrap books, and volumes of photographs, 1911–69. Presented by the artist’s son, John Brodzky, 2008.

TGA 200818

Michael Compton Michael Compton Michael Compton Michael Compton

Research material on Marcel Broodthaers, notes and texts relating to Abstract Expressionism and on museum design and architecture, 1970s–2000s. Presented by Michael Compton, 2008.

TGA 200820

Sarah FoxSarah FoxSarah FoxSarah Fox----PittPittPittPitt

1944–2009

Two watercolours by Douglas Fox-Pitt, a portfolio of small artworks and ephemera from artists primarily working in St. Ives, 1910s–90s.

Presented by Sarah Fox-Pitt, 2008. TGA 20092 Charles HarrisonCharles HarrisonCharles HarrisonCharles Harrison

2

Professional papers comprising orrespondence, colour transparencies, writings and other papers relating to his career as an art historian and a member of Art & Language, 1960s–2000s. Purchased, 2008. TGA 200826

Leslie Hurry Leslie Hurry Leslie Hurry Leslie Hurry

1909–78

Personal papers comprising thirteen watercolour drawings; ‘To Grace Douglas …’, 1940 and thirteen large format loose-leaf annotated watercolours bound into a book entitled ‘The Journey’, 1940 as well as a significant collection of Hurry’s drawings, stage and costume designs; accounts; correspondence; photographs and colour transparencies; printed ephemera; publications, press cuttings as well as files John ‘Hurry’ Armstrong, 1940s–2008. Personal papers presented by, and the water-colours purchased from, John ‘Hurry’ Armstrong and Mrs Caro Lloyd-Jacob, 2008.

TGA 200822

JamJamJamJames Dickson Inneses Dickson Inneses Dickson Inneses Dickson Innes

1887–1914 A sketchbook (with sketches by numerous artists) owned by J.D. Innes, c.1907–15. Purchased, 2008.

TGA 200814

Norbert LyntonNorbert LyntonNorbert LyntonNorbert Lynton

1927–2007

The professional archives of the art historian, Norbert Lynton, 1950s–2007.

Presented by Norbert Lynton’s widow, Mrs Sylvia Lynton, 2008.

TGA 200819

Conroy MaddoxConroy MaddoxConroy MaddoxConroy Maddox

1912–2005

Personal papers comprising correspondence, writings [including diary notes], printed ephemera and publications, posters about Surrealism; and press cuttings, 1936–2003.

Presented by Maddox’s daughter, Mrs Lee Saunders, 2008.

TGA 200813

J. E. MillaisJ. E. MillaisJ. E. MillaisJ. E. Millais 1829–96 One black and white photograph of J.E. Millais, c1880. Presented by Geoffroy Millais, 2008. Tate Archive Photograph Collection.

3

John MilneJohn MilneJohn MilneJohn Milne

1931–78

Photographic record of the sculptor’s work (mostly taken by Milne) together with statements by Milne and others, and press cuttings covering his career, 1950–78. Presented by Irving Gross, Belgrave Gallery, 2008.

TGA 200823

David PageDavid PageDavid PageDavid Page Papers relating to the Hornsey School of Art Sit-in, comprising memos, correspondence and circulars from the protest; papers relating to Page's teaching; and documentation of the wider context, 1968–70. Presented by David Page, 2008. TGA 200811

John PantingJohn PantingJohn PantingJohn Panting

1940–74

Personal papers, comprising correspondence, writings, sketch/notebooks, photographs of the artist, his works and installation shots, and press cuttings, 1964–74. Presented by the artist’s widow, through the Poussin Gallery, 2008.

TGA 200821

Genesis PGenesis PGenesis PGenesis P----OrridgeOrridgeOrridgeOrridge born 1956 The extensive archives of Genesis Breyer P-Orridge, covering the whole of his career, including extensive photographic documentation, print and manuscript material relating to early performance work and exhibitions, as well as correspondence art and the artist’s involvement with COUM, Throbbing Gristle and Psychic TV, 1960s–2000s. Purchased, 2008. TGA 200825

PosterPosterPosterPoster Collection Collection Collection Collection

Twenty two lithographic posters commissioned for the Munich Olympics, 1972. Presented by Neville Shulman, 2008.

TAP

Jeremy ReesJeremy ReesJeremy ReesJeremy Rees

1937–2003

Material relating to Rees’s involvement in: EVAC (European Visual Arts Centre) at Norwich, and IVAIN (International Visual Arts Information Network), an early collaborative networking and data exchange initiative between European museums and art institutions, 1980s. Presented by his widow, Mrs. Annabel Rees, 2008.

TGA 200815

4

David Sylvester David Sylvester David Sylvester David Sylvester

1924–2001

The personal and professional papers of the curator, writer and art historian, David Sylvester, 1940s–2001. Purchased from the Sylvester’s Estate, 2008.

TGA 200816

Keith Vaughan Keith Vaughan Keith Vaughan Keith Vaughan

1912–77

The personal and artistic papers of Keith Vaughan, 1930s–1970s. Presented by the heirs of Keith Vaughan’s estate, 2008.

TGA 200817

£

Abts, Tomma Untitled #1, 2004 7,200.00Albers, Josef from White Line Square Series (I-XVII): White Line Square III, 1966; White Line Square IX, 1966;

White Line Square XI, 1966; White Line Square XII, 1966; White Line Square XV, 196620,892.00

Alimpiev, Victor Sweet Nightingale, 2005 9,452.00Allen, Phillip Beezerspline (Counter Attack Version), 2003 16,000.00Althamer, Pawel FGF, Warsaw, 2007 110,906.00Anderson, Hurvin Jersey, 2008 25,500.00Apóstol, Alexander Av. Libertador, 2006 4,471.00Araeen, Rasheed Zero to Infinity, 1968-2007 31,500.00Artist Placement Group ARCHIVE 5,000.00ARTIST ROOMS Various 65,111,000.00Atkinson, Terry Postcard from Trotsky in Gdansk to Svetlana Stalin and Malcolm Muggeridge, dated 1983 20,000.00Batchelor, David I Love King's Cross and King's Cross Loves Me 08, 2002-7 20,000.00Batchelor, David Spectrum of Brick Lane 02, 2007 20,000.00Black Audio Film Collective, 1982-98 Expeditions One: Signs of Empire, 1982-4 15,000.00Black Audio Film Collective, 1982-98 Expeditions Two: Images of Nationality, 1984 15,000.00Black Audio Film Collective, 1982-98 Handsworth Songs, 1986 15,000.00Bochner, Mel Language is not transparent, 1969 33,807.00Boswell, James Another Day 2, 1956 5,000.00Boswell, James Grand Reunion Days , 1956 5,000.00Boswell, James Le Sphinx, 1937 4,000.00Boswell, James Le Sphinx, 1939 1,000.00Brecht, George ARCHIVE (notebook) 500.00Brockhurst, Gerald Leslie Portrait of Margaret, Duchess of Argyll, c.1931 33,932.00Brodsky, Horace ARCHIVE 10,000.00Bronstein, Pablo Erecting of the Paternoster Square Column, 2008 13,000.00Burden, Chris Airplane Factory Page #1, 1998 7,500.00Burden, Chris Airplane Factory Page #2, 1998 7,500.00Burden, Chris Airplane Factory Page #3, 1998 7,500.00Burden, Chris Airplane Factory Page #4, 1998 7,500.00Butler Yeats, Jack A Rose Among Many Waters, 1952 1,000,000.00Byrne, Gerard 1984 and Beyond, 2005-6 48,676.00Carnegie, Gillian rsXXII - /8-7, 2007 16,000.00Carter, Nathan Attention Archangel Radio Free Dunkirk is Reporting a Scotch Mist All Risks Apply, 2003 6,154.00Carter, Nathan Faeroes Southeast Iceland Gale 8 Occasionally Severe Gale 9 Epic Problem on Radio 4, 2003-2004 5,315.00

Clausen, George The Farmer's Boy, 1895 150,000.00Cohen, Harold Vigil Completed, 1966 30,000.00Collier, Anne Surviving Depression, 2007 8,907.00

Page 1/7 2008-09

£Compton, Michael ARCHIVE 2,000.00Cooke, Nigel New Accursed Art Club, 2007 80,000.00Craig-Martin, Michael Envy, 2008; Greed, 2008; Sloth, 2008; Lust, 2008; Pride, 2008; Gluttony, 2008; Anger, 2008; Seven

Deadly Sins, 200817,142.00

Creed, Martin Work No 203: EVERYTHING IS GOING TO BE ALRIGHT, 1999 50,789.00Dean, Tacita A Bag of Air, 1995 3,333.00Dean, Tacita Majesty, 2006 63,750.00Dean, Tacita Michael Hamburger, 2007 60,000.00Deller, Jeremy The History of the World, 1997-2004 40,000.00Dickinson Innes, James ARCHIVE (Slade sketchbook c1907-15) 2,500.00Dietman, Erik Turkish Proverb, 1988-1998 150,000.00Dimitrijevic, Braco Resurrection of Alchemists, 2006 14,072.00Durant, Sam Abandoned House #1 (Case Study #22), 1995 21,191.00E3 4RR Collection of prints, 2007 4,000.00Fairhurst, Angus Orca Watercolour Drilled Loop, 1995 8,000.00Fairhurst, Angus Over Mont Blanc, All Evidence of Man Removed, 1993 1,000.00Fairhurst, Angus Stenness, All Evidence of Man Removed, 1993 1,000.00Fairhurst, Angus Swissair, All Evidence of Man Removed, 1993 1,000.00Fairhurst, Angus Untitled (Orca Yearning Seats), 1994 4,000.00Fairhurst, Angus When I woke up in the morning, the feeling was still there 1-4, 1997 5,000.00Ferrari, Léon [no title] 1976-7, enlarged version 2007 556.00Ferrari, Léon [no title] 2001, reproduced 2007 302.00Ferrari, Léon Never Again, 2007 315.00Ferrari, Léon Tower of Babel, 1963 600,000.00Ferrari, Léon Untitled 1986, 2007; Crossing c.1983, 2007; Crossing 02/11/1982, 2007; Spectators 1981, 2007;

Reciprocal Spectators 1981, 2007; Board 1982, 2007; Study 1981, 2007; Footbridge 1981, 2007; Floor plan 1980, 2007; Road 1980, 2008; Neighbourhood 1980, 2007; Southern Motorway 1980, 2007; City 12/10/1980, 2007; Toilet 1982, 2007; Roundabout I 1981, 2007; Roundabout II 1981, 2007; Project 1982, 2007; Writing c.1982, 2007; People c. 1982, 2007; Tables c.1983, 2007; Square c.1982, 2007; Spiral c.1982, 2007; Stair c.1982, 2007; Paths 29/08/1982, 2007; Beds c.1982, 2007; Footbridges c.1981, 2007; Destiny c.1982, 2007

5,562.00

Flanagan, Barry Two space rope sculpture (gr 2 sp 60), 1967 30,000.00Floyer, Ceal Monochrome Till Receipt (White), 1999 17,800.00Fox-Pitt, Sarah ARCHIVE 5,000.00Frank, Robert Contact Sheet from The Americans, 1955-56 251,599.00Frank, Robert Mary and Pablo in high grass, c.1956 24,975.00Frank, Robert Mary holding Pablo while sitting on a bench in gardens, c.1951 13,765.00Frank, Robert Mary watering flowers with Andrea and Pablo, mid-1950s 24,975.00Frank, Robert Pablo holding flowers with a girl, c.1956 11,908.00Fraser, Andrea Projection, 2008 27,279.00

Page 2/7 2008-09

£Frost, Terry ARCHIVE (letters 1915-2003) 150.00Gego (Goldschmidt, Gertrud) Untitled, c.1977 114,849.00Gomes, Fernanda 2 works 22,089.00Hamilton Finlay, Ian; Farthing, Julie Je Vous Salue Marat, 1989 36,000.00Hamilton, Richard Bathers (b), 1969 4,000.00Hamilton, Richard Putting on de Stijl, 1979 5,000.00Hamilton, Richard Vignette, 1969 5,000.00Harrison, Charles ARCHIVE 50,000.00Harrison, Margaret Banana Woman, 1971 3,600.00Harrison, Margaret Dumped On, 1971 3,600.00Harrison, Margaret Little Woman at Home, 1971 3,600.00Harrison, Margaret Son of Rob Roy, 1971 2,700.00Hein, Jeppe Invisible Moving Wall, 2001 8,163.00Herrera, Arturo Want, 2007 33,805.00Himid, Lubaina Ankledeep, 1991 7,500.00Himid, Lubaina Carpet, 1992 7,500.00Hockney, David Bigger Trees Near Warter Or/Ou Peinture Sur Le Motif Pour Le Nouvel Age Post-Photographique,

200710,000,000.00

Hockney, David Study for Doll Boy, 1960 60,000.00Hockney, David The Berliner and the Bavarian, 1962 275,000.00Holman Hunt, William Portrait of Mrs Edith Holman Hunt, 1880 150,000.00Horn, Rebecca Fan, 1970 9,552.00Horn, Rebecca Unicorn, 1968-69 9,552.00Horn, Rebecca Untitled (Breast-Extension), 1968-1969 9,552.00Horn, Rebecca Untitled (Head Extension), 1971 9,552.00Horn, Rebecca Untitled 1968-1969 9,552.00Horn, Rebecca Untitled, 1968-1969 9,552.00Horn, Rebecca Untitled, 1968-1969 9,552.00Horn, Rebecca Untitled, 1968-1969 9,552.00Horn, Rebecca Untitled, 1969-1970 19,104.00Hume, Gary Untitled 01-08, 2006 12,000.00Hurry, Leslie ARCHIVE 22,500.00Hurry, Leslie ARCHIVE 27,500.00Iglesias, Cristina Study for Suspended Pavilions, 2005 (2 drawings ) 10,964.00Innes, JD ARCHIVE 2,500.00Islam, Runa First Day of Spring, 2005 42,750.00Ivekovic, Sanja 'November 1966/Grazia 1975' from Double Life' 1959-1975 13,989.00Ivekovic, Sanja 'September 1962/Amica 1975' from Double Life, 1959-1975 13,989.00Ivekovic, Sanja 'September 1975/Marie Claire 1975' from Double Life' 1959-1975 13,989.00Ivekovic, Sanja 'September 1975/Marie Claire 1975' from Double Life, 1959-1975 13,989.00

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£Ivekovic, Sanja Instuctions No. I, 1976 357.00Ivekovic, Sanja Make-up Make-down, 1976 357.00Jankowski, Christian The Holy Artwork, 2001 27,191.00Jonas, Joan The Juniper Tree (Installation), 1976/1994 150,000.00Jones, Sarah Actor (II) 1995, 2008 15,000.00Kiaer, Ian Ulchiro Project, 2007 20,000.00Kiaer, Ian Brueghel Project / Casa Malaparte, 1999 12,500.00Kidner, Michael Yellow Grey Relief, 1963 18,000.00Kolářová, Bĕla Solution for Clips, 1969 18,240.00Koo, Jeong-a Cedric, 2003 28,553.00Koshimizu, Susumu From Surface to Surface, 1971, remade 1986 115,000.00Kusuma, Yayoi The Passing Winter, 2007 72,955.00Lawler, Louise Etude pour La Lecture, 1923, This Drawing Is for Sale, Paris, 1985 6,288.00Lawler, Louise Foreground, 1994 2,620.00Lawler, Louise March 25, 1991, 1991 6,288.00Leapman, Edwina Untitled Deep Blue, 1964-1965 25,000.00Leapman, Edwina Untitled Orange, 1964-1965 25,000.00Levine, Sherrie 2 Shoes, 1992 390.00Ligon, Glenn Untitled (America), 2006 31,602.00Linder She/She, 1981/2007 10,000.00Lloyd, Hilary Carwash, 2005 16,000.00Lloyd, Hilary Monika, 2000 6,400.00Lloyd, Hilary One Minute of Water, 1999 6,400.00Locke, Hew Vita, Veritas, Victoria, 2007 24,000.00Lynton, Norbert ARCHIVE 15,000.00Maddox, Conroy ARCHIVE 25,000.00Maddox, Conroy Untitled drawing ('In Paris'), 1937 4,000.00Martin, Simon Carlton, 2006 3,400.00Martin, Simon Wednesday Afternoon, 2005 6,800.00McCarthy, Paul Projection Room, 1971-2006 264,916.00Mendieta, Ana Untitled (Blood and Feathers), 1974 28,735.00Millais, Sir John Everett Dew Drenched Furze, 1889-1890 1,500,000.00Millais, Sir John Everett photograph ARCHIVE 250.00Milne, John ARCHIVE 5,000.00Mitchell, Joan Chord II, 1986 338,059.00More, Jacob The Deluge, 1787 170,000.00Muniz, Vik After Richard Serra, 'Prop', 1968 (from 'Pictures of Dust'), 2000 12,676.00Muñoz, Juan The Prompter, 1988 714,285.00Muntadas, Antonio Personal/Public, 1981 51,516.00Musgrave, David Plane with Inverted Figure, 2007 4,500.00

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£Narkevicius, Deimantas Never Backward, 1994 10,180.00Nauman, Bruce Untitled, 1965 230,068.00Nelson, Mike The Coral Reef, 2000 65,000.00Oehlen, Albert Loa, 2007 126,221.00Oiticica, Hélio Bilateral 'Teman' BIL003, 1959 309,765.00Oiticica, Hélio Spatial Relief (red) REL036, 1959 309,765.00Opie, Catherine from 'Wall Street' , 2000-1 61,972.00Page, David ARCHIVE 7,500.00Panting, John Untitled sketch model for steel sculpture c. 1972-1974 5,500.00Panting, John Untitled sketch model for steel sculpture c. 1972-1974 5,500.00Panting, John Untitled sketch model for steel sculpture c. 1972-1974 5,500.00Panting, John Untitled sketch model for steel sculpture c. 1972-1974 5,500.00Panting, John ARCHIVE 15,000.00Partum, Ewa Active Poetry, 1971 3,037.00Partum, Ewa Active Poetry, 1971-1973 3,037.00Phaophanit, Vong 'All that's solid melts into air (Karl Marx)', 2006 15,000.00Phaophanit, Vong What Falls to the Ground but Can't Be Eaten, 1991 30,000.00Pillsbury, Matthew Slides in the Turbine Hall, Tate Modern, London, 2007, 2007 9,300.00Pope, Nicholas Oak Wood Column, 1973 15,000.00Posenenske, Charlotte Prototype for Revolving Vane, 1967/1968 86,756.00Posenenske, Charlotte Square Tubes (Series D), 1967 8,638.00Posenenske, Charlotte Square Tubes (Series D), 1967 8,638.00Posenenske, Charlotte Square Tubes (Series D), 1967 8,638.00Posenenske, Charlotte Sprayed Picture, 1964/65 13,481.00Posenenske, Charlotte Square Tubes [Series D], 1967 8,000.00Posenenske, Charlotte Square Tubes [Series D], 1967 8,000.00Pumhösl, Florian Programm, 2006 31,722.00Rees, Jeremy ARCHIVE 5,000.00Reid, Jamie Work and Play, 1972 10,000.00Reid, Jamie No Feelings, 1977 40,000.00Rennó, Rosângela Experiencing Cinema, 1962 13,720.00Rhodes, Carol Airport, 1995 10,200.00Rideal, Liz Self-Portrait Yellow, 1996 10,000.00Rodney, Donald Visceral Canker,1990 20,000.00Rodney, Donald How the West Was Won, 1982 20,000.00Rotella, Mimmo With a Smile, 1962 754,576.00Rubens, Sir Peter Paul multiple sketch for the Banqueting House ceiling c.1629-30 5,700,000.00Ruppersberg, Allen The Never Ending Book, 2007 88,085.00Ruscha, Edward Vowel #64 (E), 1996 40,000.00Ruscha, Edward Vowel #98 (O), 1996 40,000.00

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£Ryan, Veronica Untitled, 1985 3,000.00Sala, Anri After Three Minutes, 2007 46,754.00Sarmento, Julião Mehr Licht, 1985 89,934.00Scheibitz, Thomas 90 Elements, 2007 56,664.00Schütte, Thomas Architecture Models, 2006 24,360.00Schütte, Thomas Four Sisters in the Bath, 1989 276,780.00Shrigley, David Light Switch, 2007 5,950.00Shrigley, David Stop It, 2007 11,050.00Simon, Taryn Jury Simulation, Deliberation Room with Two-Way Mirror DOAR Litigation Consulting Lynbrook,

New York, 20077,278.00

Simon, Taryn Nuclear Waste Encapsulation and Storage Facility Cherenkov Radiation Hanford Site, U.S. Department of Energy Southeastern Washington State, 2007

7,278.00

Simon, Taryn The Central Intelligence Agency, Art CIA Original Headquarters Building Langley, Virginia, 2007 7,278.00

Simon, Taryn The Ten Commandments, Buried "City of the Pharaoh" Film Set Nipomo Sand Dunes Guadalupe, California, 2007

7,278.00

Simon, Taryn Transatlantic Sub-marine Cables Reaching Land VSNL International Avon, New Jersey, 2007 7,278.00Simon, Taryn U.S. Customs and Border Protection, Contraband Room John F. Kennedy International Airport

Queens, New York, 20077,278.00

Smith, Keir Paolo, 2001 8,000.00Solakov, Nedko A Life (Black and White), 1998 32,380.00Swain, Tony Jesus Help Me Find My Property, 2007 8,000.00Swoon Argentina, 2007 1,100.00Sylvester, David ARCHIVE 100,000.00TAP Munich Olympic posters ARCHIVE 2,500.00Tellez, Javier La Passion de Jeanne d'Arc (Rozelle Hospital, Sydney), 2004 28,200.00The House of Fairy Tales collection of prints, 2008 5,500.00Tiravanija, Rirkrit Untitled, 2005 (sleep on earth, eat on sand), 2005 84,992.00Titchner, Mark We Want Strong Leadership, 2005 12,000.00Torres, Mario Garcia What Happens in Halifax Stays in Halifax (In 36 Slides), 2004-6 13,978.00Torres, Raimond Chaves The Creole Touch 20,035.00Tudela, AndradeArmando Casas Alteradas, 2006 6,400.00Vale, João Pedro The Party Was Great, Yes, 2006 16,158.00Vaughan, Keith ARCHIVE 20,000.00Vonna-Michell, Tris <> >, 2008 10,200.00Walker, Kara Grub for Sharks: A Concession to the Negro Populace, 2004 142,857.00Wallinger, Mark Royal Ascot, 1993 75,000.00Wallinger, Mark Threshold to the Kingdom, 2000 56,250.00Wallinger, Mark Where There's Muck, 1985 93,750.00Warren, Rebecca In the Bois, 2005 69,510.00

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£Wei Wei, Ai Table and Pillar, 2002 135,745.00Wilkes, Cathy (We Are) Pro Choice, 2008 36,000.00Wool, Christopher Untitled, 1997 2,000,000.00Zaatari, Akram Nature Morte, 2008 8,607.00Zaatari, Akram Objects of Study/The archive of studio Shehrazade/Hashem el Madani/Studio Practices, 2007 51,497.00

Zhen, Xu 8848 - 1.86, 2005 98,334.00Ziegler, Toby Vanity Press, 2005 8,000.00

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TATE REPORT 08-09

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Transcript of TATE REPORT 08-09