ANNUAL TATE AMERICAS FOUNDATION - JANUARY 1, 2020 to MARCH 31, 2021
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TATE AMERICAS FOUNDATION ANNUAL REPORT JANUARY 1, 2020 to MARCH 31, 2021
CONTENTS
INTRODUCTION ................3 ART ACQUISITIONS OUR
AND GIFTS .........................5 SUPPORTERS ...................20
TRUSTEES ACQUISITION COMMITTEES .........................21
HIGHLIGHTS ............................6
AND STAFF .........................4 INTERNATIONAL COUNCIL .....22
ALL ACQUISITIONS ................13
DONORS ................................23
ALL GIFTS ..............................14
SUPPORTED ABOUT ...............................25
EXHIBITIONS ....................16
COVER IMAGE
JOAN SNYDER
Dark Strokes Hope 1971
Oil paint, acrylic paint and spray enamel on canvas
1981 x 2743 mm
Lent by the Tate Americas Foundation, courtesy of Tate
Americas Foundation and Komal Shah 2020
2
INTRODUCTION
It is a great pleasure to present the The Tate Americas Foundation Board The Tate Americas Foundation had a
2020-21 Annual Report of the Tate Americas continued to expand with the addition of remarkably successful year receiving funds
Foundation. As it was for so many museums, Charlotte Santo Domingo and Christian to benefit the museum and its programming.
this was an incredibly challenging year for Keesee. Both share a deep commitment to The Foundation received $21.8 million in gifts
Tate. When Tate closed its galleries at the end art and Tate, and we will benefit from their and art. Through grants to Tate, TAF was
of March 2020, it had just experienced one of passion and knowledge. The Latin American able to provide crucial support for important
its most successful years in history - welcoming Acquisitions Committee and North American exhibitions such as Zanele Muholi and Lynette
Paul Britton 8 million visitors, a record for the museum. Acquisitions Committee also continued to Yiadom Boakye, learning and education
Chair This fiscal year has seen the galleries advance. Unable to meet in person, the programs which helped Tate stay connected
remaining closed for most of the year. Despite Committees found new ways to stay engaged to its audience through new digital initiatives,
these challenges, Tate and the Tate Americas and connected, utilizing a robust series and transformative acquisitions that helped
Foundation achieved many successes, and we of digital programming and events that expand the Tate Collection to better reflect
are pleased to share these with you. highlighted the artists they have supported the diverse audience of the museums.
over the years. On top of finding new ways
Tate showcased its curatorial excellence to connect, both Committees pledged their These successes were only possible due to
through exhibitions that highlighted art support to benefit living artists impacted the generosity and support of our Board
from the Americas. Iconic American artists by the pandemic. Finally, we thank Mark members, Committee members, patrons,
Bruce Nauman and Andy Warhol both had Godfrey, Senior Curator, International Art, donors, and friends. The dedication from our
major exhibitions at Tate Modern and Kara North America and curatorial lead with the supporters has been truly remarkable. This
Walker transformed the Turbine Hall with her North American Acquisitions Committee who year emphasized the power of art to unite us
monumental masterpiece Fons Americanus. left Tate at the end of the fiscal year with all. Through your combined gifts, Tate was
The beginning of 2020 saw important a distinguished record of acquisitions and able to meet this moment and innovate to
exhibitions by Theaster Gates and Vivian having curated many important exhibitions, find new ways to make art accessible. We are
Suter on display at Tate Liverpool, and the including Soul of A Nation: Art in the Age of profoundly grateful for your generosity and
Bob Rennie year ended with artist Aliza Nisenbaum Black Power. dedication to Tate. Thank you.
President reflecting on the global pandemic with a solo
exhibition in the galleries.
Paul Britton Bob Rennie
Chair President
3
TRUSTEES
Abigail Baratta
Eugenia Braniff
Paul Britton (Chair)
Wendy Fisher
Glenn Fuhrman
Pamela Joyner
Christian K Keesee
Bob Rennie (President)
Jay Rivlin
Charlotte Santo Domingo
Kim Shirley
Jay Smith
TRUSTEES EMERITI
Estrellita Brodsky
John J. Studzinski CBE
EX-OFFICIO TRUSTEES
Tiqui Atencio Demirdjian (Co-Chair, Latin American Acquisitions Committee)
Gregory R Miller (Co-Chair, North American Acquisitions Committee)
Erica Roberts (Co-Chair, Latin American Acquisitions Committee)
Christen Wilson (Co-Chair, North American Acquisitions Committee)
STAFF
Catherine Carver Dunn (Executive Director)
Daniel Schaeffer (Director of Development)
Meredith Gerrick (Director of Finance, Operations, and Acquisitions)
TRUSTEES AND STAFF
4
ART ACQUISITIONS & GIFTS
NJIDEKA AKUNYILI CROSBY
Njideka Akunyili Crosby’s paintings explore her hybrid cultural
identity, reflecting her strong attachment to her Nigerian heritage
and her current home in Los Angeles. Working with photography
and painting, Akunyili Crosby’s multi-layered images of domestic
scenes are built upon the artist’s personal reflections on history,
community and politics. In her figurative paintings, subjects
are often engaged in moments of relaxation and intimacy,
challenging stereotypical representations of the black body in
contemporary media. Addressing a British perspective, her work
Remain, Thriving, explores the importance of cultural memory in
relation to notions of place-making and diaspora.
Akunyili Crosby’s compositions combine drawn and painted
surfaces with transferred images extracted from a variety of
Nigerian pop cultural magazines, advertisements and online
sources. Applying photocopies of these images with acetone
and rubbing them onto the surface of the paper individually,
each painting draws from amalgam of visual languages. Remain,
Thriving, is made up of photo-collaged areas of transferred
images reminiscent of the boldly patterned wallpaper found in
many Afro-Caribbean households.
Remain, Thriving, was the first in a series of new works
commissioned by Art on the Underground for Brixton Station. In
order to anchor her new work in Brixton, a heartland of London’s
cosmopolitan diaspora, Akunyili Crosby spent time speaking to
members of the local community, as well as archivists at the Black
Cultural Archives and the Lambeth Archives. While making the
painting, Akunyili Crosby considered the local constituents who
travel through the station everyday, who may even recognise
familiar people and places in the work. Some of the locations
featured have not survived the rapid redevelopment of the area,
pointing towards the impact of gentrification, especially on
migrant communities and businesses. The paintings hopeful title,
Remain, Thriving, refers to the communities who, despite political
and economic hardships, have remained vital to Brixton’s social
ABOVE
NJIDEKA AKUNYILI CROSBY fabric.
Remain, Thriving 2019
Acrylic paint, transfer print on paper, coloured pencil,
pastel, and collage on paper Osei Bonsu
PREVIOUS PAGE 3658 x 1924 mm
VIVIAN SUTER Purchased with funds provided by Michael and Sukey October 2019
Nisyros (Vivian’s Bed) 2016-17 Novogratz (Tate Americas Foundation) 2020
Purchased with assistance from Tate International Council © Njideka Akunyili Crosby
and the Latin American Acquisitions Committee 2020 Courtesy the artist, Victoria Miro, and David Zwirner
6
DAWOUD BEY
Boy in Front of the Loew’s 125th Street Movie Theatre is one of the best-known
photographs from Bey’s series of thirty-three prints, Harlem U.S.A. The series represents the
beginnings of Bey’s photographic practice and was displayed in a monographic display at the
Studio Museum, Harlem, in 1979. Throughout the series Bey captures a wide range of
subjects, providing a representation of the neighbourhood during and post the civil-rights
movement of the 1970s. Bey was influenced by the work of studio photographer James Van
Der Zee (1886–1983) who took photographs during what would come to be termed the
‘Harlem Renaissance’ of the 1920s. Van Der Zee’s portraits of black subjects show the poise
and dignity of his sitters. This interest in the human subject would come to characterise Bey’s
portraiture work.
Bey worked on Harlem U.S.A over several years. Popular depictions of Harlem at the time
lacked nuanced representation. Interested in the self-representation of his subjects,
Bey realised that he did not want to present the same reductive image of the neighbourhood,
stating in an interview: ‘I ended up making a collective picture of what Harlem actually
presented to me rather than validate something I thought I knew about the community.’
(Interview with Dawoud Bey, The Chicago Reader, 5 February 2012). In this work, through
the confident stance and conscious self-styling of the boy in front of a cinema, we see a
vision of Harlem wherein young black individuals were interested in the politics of style and
representation which proliferated throughout the civil rights movement of the 1950s and
1960s, developing into the ‘Black is Beautiful’ cultural movement.
Harlem U.S.A is both a documentation of place within a specific time, but also an exploration
of photographic portraiture, and the relationship between artist and subject. As a black artist
working in the US, Bey had a specific relationship with his subjects. Not entirely empirical,
nor a nostalgic look at the inhabitants of a specific place, Harlem U.S.A is a series which sits
between the two, as a subjective portrayal of Harlem and its inhabitants, by an artist who sat
within the community he was photographing. Despite not wanting to create a reductive
‘positive’ image of Harlem, the series Harlem U.S.A does show the civic pride and
engagement by the population who lived and worked there.
Emma Jones
September 2020
DAWOUD BEY
A Boy in Front of the Loew’s 125th Street Movie Theatre from
Harlem U.S.A 1975, printed 2020
Photograph, gelatin silver print on paper
301 x 206 mm
Number 1 of 2 artist’s proofs aside from the edition of 10
Lent by Tate Americas Foundation, courtesy of William
and Elizabeth Kahane Foundation 2021
© Dawoud Bey, courtesy of Stephen Daiter Gallery
7
PETER DOIG
Peter Doig’s large painting Untitled (Ping Pong) 2006–8
demonstrates the ambiguity and sense of dislocation that
typifies Doig’s work. A bare-chested lone man wearing a
pair of white shorts is shown engaged in a game of table
tennis against an unseen opponent. The table-tennis table
is shown from the side so that its edge forms a thick white
line that cuts horizontally across the lower half of the canvas.
The setting is a lush landscape, presumably hot given the
attire of the figure wielding the small red bat. The man is
ankle-deep in bright green grass, yet beyond the table is
a large grid of blueand black rectangles like a modernist
abstraction, or brightly coloured tiled wall, set in front of a
wooded landscape. This grid occupies much of the surface of
the painting and renders the distinction between exterior and
interior ambiguous.
Untitled (Ping Pong) was first shown in an exhibition of Doig’s
new paintings at Gavin Brown’s Enterprise, New York, in
2009 alongside a number of other works that feature table
tennis. In each of these works a single figure is depicted
playing against an unseen rival. This isolated, anonymous
figure is a motif that has recurred throughout Doig’s career.
Similarly, the landscape setting with an ambiguous haunted
aspect is another constant theme; the atmosphere is highly
charged, yet the narrative is uncertain. Landscape and the
figure continue to be the focus of Doig’s paintings, though
combined more recently in ever more strange configurations.
Doig’s work is inspired by the flow of things seen in everyday
life and by the art he looks at, from past and present. It
seems intensely personal, yet he often draws upon found
photographic sources – newspaper images and postcards,
as well as photos he has taken himself. Suffused with
strangeness, his paintings have a dreamlike quality. They
seem to hinge on the tension between narrative content and
the formal, purely visual qualities of painting. The viewer
is often pulled between reading the painting as a series
of marks on canvas and as a representational image. His
PETER DOIG
paintings are as much about the sensuous materiality of paint
Untitled (Ping Pong) 2006–8 as about the figurative subjects they portray.
Oil paint on canvas
94 1/2 x 141 3/4 in (240 x 360 cm)
Presented by The Roman Family Collection (Tate Americas
Foundation) 2020
Helen Delaney
© Peter Doig. All Rights Reserved, DACS/Artimage 2021 October 2010, updated September 2019
8
ALFREDO JAAR
In the work September 11, 1973 (Coke) 1982, a company calendar for the
year 1973 has been modified by the artist. Starting from 11 September, Jaar
has altered the dates on the calendar, repeating the number eleven until the
end of the year, suggesting the total stagnation of time or the absence of
any future. The date, 11 September 1973, refers to the day on which Chile’s
first democratically-elected socialist president, Salvador Allende, was ousted
by military coup of General Pinochet. The event led to a seventeen-year
repressive dictatorship in the country.
Jaar produced this work in New York, shortly after relocating from Santiago.
There he was exposed to news not available in his homeland detailing United
States’ covert involvement in the overthrow of the Allende government. Jaar
had created various artworks in Chile in the mid-1970s responding to the
coup; with this work he returned to the subject by adapting a calendar so that
time stops on this date.
The original calendar was produced by Coca-Cola for its ‘Buy the World a
Coke’ advertisement that presented a group of young people from different
races and classes singing about bringing the world together in ‘perfect
harmony’. The calendar advertises by using idyllic landscapes that evoke a
paradisiacal life of progress tied to consumerism—an imagery contested
by a generation of left-leaning, anti-imperialist intelligentsia and the social
movements of the 1960s and 1970s, especially across Latin America. Through
Jaar’s intervention, these images of peace and harmony are interrupted by
the intervention of dates, suggesting the unnatural experience of living in
times of political crisis.
Inti Guerrero, Michael Wellen
October 2019
ALFREDO JAAR
September 11, 1973 (Coke) 1982, printed 2019
Six pigment prints mounted on board
Overall dimensions 1612 x 1980 mm
Number 3 in an edition of 3
Lent by the Tate Americas Foundation, courtesy of the
Latin American Acquisitions Committee 2021
Photo © Tate (Matt Greenwood) 2020
9
LORNA SIMPSON
Haze is a unique large-scale serigraph on felt made by the artist in 1998. The central section is
composed of six individual panels which are grouped and hung together, and is bookended by two
smaller text panels which sit on either side. The work was produced by silkscreen printing individual
sections of the black and white photographic image onto the felt panels so that they abut each other
to form a coherent whole. The text panels narrate a conversation between two individuals who scan
the skyline in search of a particular something or someone. Haze is part of a body of work begun in
1994 which has been grouped under the collective title of the Public Sex series.
Prompted by a desire to explore new possibilities in her practice, Simpson made the decision to
exclude the human figure from her work in the early 1990s. Works from the Public Sex series depict
empty places – predominantly cityscapes and interiors – which ostensibly function as studies in
the urban environment. Despite the physical absence of the human body from the work, however,
it remains central to the narrative through the inclusion of lengthy text captions which frame each
photographic image.
The accompanying text panels narrate a conversation between two individuals who scan the
urban skyline for something, or someone, in particular. In an informal and familiar tone, the first
individual offers a series of directions to the other, attempting to focus their gaze on a certain spot
in the distance through reference to various architectural markers:
“Okay, one more time, look down the widest street – you got that… right – count 1-2-3-4 rooftops –
then look across to your right, past the big railings of connecting balconies, and look for the tangle
of antennas, across from the triangle roof – do you see that?”
The second individual is unable to locate what is being referred to, before the first concludes that
whatever was being looked at is no longer on view; “wait they just got up and went inside – you
missed it”. Despite the lack of any clarifying detail – and in the context of this body of felt works as
a whole – the conversation insinuates that they have been using a position of elevated height and
distance, or a concealed vantage point, to voyeuristically observe a couple engaged in a private act
in a public space.
Hannah Johnston
November 2019
LORNA SIMPSON
Haze 1998
Serigraph on 6 felt panels with 2 felt text panels
Overall: 68 x 69 in (172.7 x 175.3 cm)
Each panel: 34 x 23 in (86.4 x 58.4 cm)
Edition of 3 with 2 AP
Lent by the Tate Americas Foundation, courtesy of an
anonymous donor 2020
© Lorna Simpson
Courtesy the artist and Hauser & Wirth
10JOAN SNYDER
Dark Strokes Hope is a large landscape-format painting on canvas by
Joan Snyder, made in New York in 1971. It is from a group of ‘Stroke
Paintings’ (1969–72), a series recognised as being important within
Snyder’s career. The surface is covered by an array of different strokes
and marks made with various brushes and spray cans against an
unpainted background. The strokes and marks are in several non-
primary colours and paint types – including oil, acrylic and spray
paint. Some paint is metallic and some gel-like. In some areas, groups
of horizontal strokes are arranged in columns, or vertical strokes in
rows, calling to mind the arrangement of information in lists and other
documents. In one area silver strokes are arranged in a long arc. Some
of the strokes are painted with thick dry paint; others were made
while the brush was loaded and the paint wet, causing considerable
drips and run-off beneath the strokes. In a couple of places, broad
strokes are overpainted with thinner collections of different coloured
strokes. Near the top right corner, an area of maroon paint has been
peeled away from the surface; in another, to the right of centre, a
single handprint has been made on the canvas. Plenty of space is
left unpainted so that the beige colour of the canvas becomes an
important colour in the composition.
Snyder, who was a student of Robert Morris (1931–2018), showed the
‘Stroke Paintings’ of 1971 at the Paley & Lowe Gallery in New York that
year. Synder’s approach to painting challenged the viewer to look at
painting in a new way: rather than taking in the whole canvas as a
single composition, they had to read the painting as a compendium of
different visual information, much as one would read a printed text.
Snyder’s ‘Stroke Paintings’ are increasingly recognised as foundational
for a generation of younger artists including Laura Owens (born 1970)
and Jacqueline Humphries (born 1960) who have also taken apart and
reconfigured the dominant language of American abstract painting.
Mark Godfrey
February 2020
JOAN SNYDER
Dark Strokes Hope 1971
Oil paint, acrylic paint and spray enamel on canvas
1981 x 2743 mm
Lent by the Tate Americas Foundation, courtesy of Tate
Americas Foundation and Komal Shah 2020
11CECILIA VICUNA
Quipu Womb (The Story of the Red Thread, Athens) 2017 is a sculpture by Cecilia Vicuña composed
from 52 red wool strands, referred to as chorros, that hang from a circular ring suspended from the
ceiling. Quipu is the Spanish transliteration of the word for ‘knot’ in Cusco Quechua. The work draws
upon the concept of the quipu that is a practice from the pre-Colombian period in Peru where they
would tie cords into knots, with additional coloured strands attached, to record events, information
and stories. Vicuña began creating quipus in 1966. This is the largest and arguably the most iconic
since it debuted at Documenta 14 in Athens. Vicuña’s use of this technique is a reclaiming of
indigenous practices that have been integral to her work as an artist and poet, calling the quipus as
‘poems in space’. Through the assortment of chorros that overtake the height of the gallery space
Vicuña seems to suggest that Quipu Womb is an epic poem waiting to be told, while the visual
effect of the cascading form has an affinity with water, which has also been a recurring feature in
both her writing and performances.
The work can be connected to her broader interest in performance, language, textiles, ecology, and
activism. Throughout her career Vicuña created performances around the construction and display
of her works. While the sculpture was on display in Athens, Vicuña used excess portions of wool in
a performance staged along the coastline titled Beach Ritual.
Michael Wellen, Fiontán Moran
October 2020
CECILIA VICUÑA
Quipu Womb (The Story of the Red Thread, Athens) 2017
‘Wool, dye, rope and thread
9000 x 5000 x 5000 mm (approximately)
Lent by the Tate Americas Foundation, courtesy of the
Latin American Acquisitions Committee, and Juan Yarur
Torres in honour of Cora and Cirilo Yarur Lecaros 2021
12ART ACQUISITIONS
IAN CHENG GUERRILLA GIRLS YVONNE RAINER VIVIAN SUTER
Something Thinking of You 2015 Guerrilla Girls Portfolio Compleat Update Five Easy Pieces 1966–9 Nisyros (Vivian’s Bed) 2016–17
Live digital simulation, sound 1991–2012 Film, 8mm and 16mm, black and white, Oil paint, pigment and fish glue on canvas
Infinite duration Portfolio of 27 works: 21 posters (20 digital silent, transferred to DVD and paper, volcanics, earth, botanical matter,
Dimensions variable prints on paper, 7 with accompanying digital 52 minutes 20 seconds micro-organisms and wood
Number 7 in an edition of 7 and 1 AP prints on adhesive paper, and 1 inkjet print Unlimited edition Overall dimensions 3300 x 4850 x 4850 mm
Purchased with funds provided by the Tate on paper); 4 videos; 2 books Display dimensions variable
Americas Foundation 2020 Lent by the Tate Americas Foundation, Trio A 1978 Purchased with assistance from Tate
courtesy of the North American Acquisition Film, 16mm, black and white, sound, International Council and the Latin American
____________________________________ Committee 2020 transferred to DVD Acquisitions Committee 2020
10 minutes 30 seconds
____________________________________ Cameraman: Robert Alexander ____________________________________
TRISHA DONNELLY Producer: Sally Banes
Untitled 2016 Unlimited edition
Video ALFREDO JAAR CECILIA VICUÑA
Duration variable September 11, 1973 (Coke) 1982, printed 2019 Lent by the Tate Americas Foundation 2020 Quipu Womb (The Story of the Red Thread,
Six pigment prints mounted on board Athens) 2017
Untitled 2014 Overall dimensions 1612 x 1980 mm ____________________________________ Unspun wool, twigs, string and other materials
Video (looped) Number 3 in an edition of 3 9000 x 5000 x 5000 mm (approximately)
9 seconds Lent by the Tate Americas Foundation, Lent by the Tate Americas Foundation, courtesy
courtesy of the Latin American Acquisitions CAMERON ROWLAND of the Latin American Acquisitions Committee,
Untitled 2014 Committee 2021 Assessment 2018 and Juan Yarur Torres in honour of Cora and
Digital image, still projection Late 18th-century English grandfather Cirilo Yarur Lecaros 2021
Dimensions variable ____________________________________ clock acquired from Paul Dalton Plantation,
Number 1 of 2 artist’s proofs aside from an Yemassee, South Carolina; 1848 tax receipt
edition of 3 from Mississippi; 1852 tax receipt from
DUANE LINKLATER Mississippi; 1860 tax receipt from Virginia
Lent by the Tate Americas Foundation, courtesy Speculative apparatus for the work of 2438 x 3302 x 273 mm
of the North American Acquisitions Committee nohkompan and nikosis 2016 Lent by the Tate Americas Foundation,
and the Dallas Museum of Art, USA 2020 Concrete, stainless steel, tape, tobacco, courtesy of the North American Acquisitions
flowers, video, high definition, flat screen, Committee 2020
____________________________________ computer case, sound (mono)
2 minutes 43 seconds ____________________________________
Display dimensions variable
JUAN MANUEL ECHAVARRÍA Lent by the Tate Americas Foundation,
Requiem NN 2006–2015 courtesy of the North American Acquisitions JOAN SNYDER
65 photographs, digital print on paper, Committee 2020 Dark Strokes Hope 1971
face‑mounted to lenticular acrylic sheet Oil paint, acrylic paint and spray enamel on
Each 400 x 400 mm canvas
Number tbc in an edition of 3 1981 x 2743 mm
plus 2 artist’s proofs Lent by the Tate Americas Foundation,
Lent by the Tate Americas Foundation, courtesy of Tate Americas Foundation and
courtesy of the Latin American Acquisitions Komal Shah 2020
Committee 2020
13GIFTS
NJIDEKA AKUNYILI CROSBY GLENN BROWN DONALD LOCKE The Remains of Captain Bull #1 2001
Remain, Thriving 2018 Sex 2003 Folded Seed with Clip 1972–4 Wax, wood and steel frame
Acrylic, transfers, colour pencil and collage Oil on panel Glazed ceramic, cast aluminum 317 x 279 x 178 mm
on paper 1260 x 851 mm (4’ 1 5/8” x 2’ 9 1/2”) 229 x 305 x 203 mm
3658 x 1924 mm Presented by Teiger Foundation (Tate The Pork-Knocker Suite: Afro Leg 2003
Purchased with funds provided by Michael Americas Foundation) 2020 Twin Form 1976 Wax, artificial hair [?] and wood
and Sukey Novogratz (Tate Americas Ceramic with matt black glaze 368 x 178 x 152 mm
Foundation) 2020 ____________________________________ Ed.2/5
203 x 76 x 76 mm Presented by Timothy Griffith (Tate Americas
____________________________________ Foundation), 2020
PETER DOIG Imperial Echoes 1992
Untitled (Ping Pong) 2006–8 Acrylic paint, paper, wood and Perspex on ____________________________________
FELICE BEATO Oil paint on canvas two canvases
12 photographs, albumen prints on paper 2400 x 3600 mm 1168 x 1575 mm
1 album, The Second Opium War 1860 album Presented by The Roman Family Collection MOHAN SAMANT
of 6 photographs, albumen prints on paper, (Tate Americas Foundation) 2020 Mansions of the South 1996 In the Beginning there was a Man, a Woman
including 2 panoramas Acrylic paint and paper on paper and a Benevolent Ghost 1980
____________________________________ Mixed media and sand on canvas
380 x 600 mm
FELICE BEATO and JAMES ROBERTSON 52 x 52 inches
27 photographs, albumen prints on paper Mansions of the South 1996
JUAN MANUEL ECHAVARRÍA Untitled c.1985
Various dimensions Acrylic paint and paper on paper
Flower Vase Cut 1997 Mixed media with paper cut-outs on canvas
Corte de florero 380 x 600 mm
JAMES ROBERTSON 30 ½ x 24 inches
10 photographs, digital print on
76 photographs, albumen prints on paper Mansions of the South 1996
paper mounted on card Presented by Jillian Samant (Tate Americas
1 album, Views of Greece and Turkey c.1855 Acrylic paint and paper on paper
Each 508 x 406.4 mm Foundation), 2020
album of 42 photographs, salted paper prints 380 x 600 mm
Numbers tbc in an edition of 10
Presented by Michael G. and C. Jane Wilson Lent by the Tate Americas Foundation, ____________________________________
courtesy of Estrellita Brodsky 2020 Untitled 1993
(Tate Americas Foundation), 2020 Acrylic paint on paper
____________________________________ 280 x 210 mm LORNA SIMPSON
____________________________________
Haze 1998
Untitled 1993 Screenprint on felt, 6 panels plus 2 text
ZOE LEONARD Acrylic paint on paper panels
DAWOUD BEY
I want a president 1992/2018 225 x 300 mm 1727 x 1753 mm
A Boy in Front of the Loew’s 125th Street
Digital print on onion skin paper Lent by the Tate Americas Foundation,
Movie Theater, Harlem, NY, 1976
279 x 216 mm Untitled 1993 courtesy of an anonymous donor 2020
Gelatin silver photograph. 2020 print. Signed,
Number 70 in an edition of 100 Acrylic paint on paper
dated, and editioned “AP” in pencil by artist
Lent by the Tate Americas Foundation, 150 x 380 mm
on print verso.
courtesy of Dorothy Berwin 2019
11 7/8 x 8 in. (30.2 x 20.3 cm)
Lent by Tate Americas Foundation, courtesy of
William and Elizabeth Kahane Foundation 2021
14DANH VO Chair 1 2019
Aconitum souliei, Inflorescence portion Walnut wood
/ Lilium souliei, outer and inner tepel / 605 x 450 x 410 mm
Anemone coelestina var. souliei, flowering
plant / Rosa soulieana, fruit / Aconitum Rootball E 2019
souliei, cauline leaf / Anemone coelestina, Wood
basal leaf / Anemone coelestina, carpel / 650 x 800 x 700 mm
Luzula rufescens, flowering plant / Anconitum
souliei, upper cauline leaf / Anemone Purchased with funds provided by the
coelestina, basal leaf / Anemone coelestina, Council for Canadian American Relations,
flowering plant / Rosa soulieana, fruiting courtesy of Eleanor and Francis Shen (Tate
branch / Lilium souliei, distal portion of Americas Foundation) 2021
flowering plant / Nepeta souliei, flowering
plant / Rosa soulieana, flowering branch / ____________________________________
Cerasus fruticosa, fruiting branch / Cerasus
tomentosa var. souliei, fruiting branch 2009
Wallpaper CATHERINE WAGNER
Dimensions variable Construction Tarps 1974
Gelatin silver prints on paper
2.2.1861 2009 Uneditioned
Paper and ink 500 x 610mm
298.5 x 209.6 mm
Double X Construction 1976
Bye, Bye 2010 Gelatin silver prints on paper
Photograph Uneditioned
489 x 375 mm 500 x 610mm
17.01.1980 2010 Rooftop Site II, San Francisco, CA 1978
Photograph on paper Gelatin silver prints on paper
60 x 40 mm Uneditioned
frame: 314 x 245 x 35 mm (mount: 260 x 190 500 x 610mm
mm)
Presented by David Knaus (Tate Americas
Foundation) 2021
15SUPPORTED EXHIBITIONS
SUPPORTED EXHIBITIONS
TATE MODERN TATE BRITAIN
ANDY WARHOL AUBREY BEARDSLEY
MARCH 12 – NOVEMBER 15, 2020 MARCH 4 – SEPTEMBER 20, 2020
Presented in The Eyal Ofer Galleries SUPPORTED BY
IN PARTNERSHIP WITH The Aubrey Beardsley Exhibition
Bank of America Supporters Circle:
WITH ADDITIONAL SUPPORT FROM Lydia and Manfred Gorvy
The Andy Warhol Exhibition Tate Americas Foundation
Supporters Circle: and Tate Members
Lydia and Manfred Gorvy
Tate Americas Foundation,
Tate International Council, TATE BRITAIN
Tate Patrons BRITISH BAROQUE
and Tate Members POWER AND ILLUSION
FEBRUARY 4 – MARCH 18, 2020
SUPPORTED BY
TATE BRITAIN White & Case
ART NOW WITH ADDITIONAL SUPPORT FROM
COOKING SECTIONS The British Baroque Exhibition
SALMON: A RED HERRING Supporters Circle:
DECEMBER 2, 2020 – AUGUST 31, 2021 The Magic Trust
SUPPORTED BY Samuel H. Kress Foundation
The Art Now Supporters Circle: Philip Mould & Company
Princess Alia Al-Senussi Tate Americas Foundation,
Charles Asprey Tate International Council
Jamie and Soli Gareh and Tate Patrons
Emma and Fred Goltz
Alexandra and Guy Halamish
Tierney Horne
Lyndsey Ingram Ltd
James Lindon
Catherine Petitgas
Matthew Slotover and Emily King
The William Brake Charitable Trust
Thomas Dane Gallery
Russell Tovey
and those who wish to remain PREVIOUS PAGE
Installation views, Zanele Muholi at Tate Modern
anonymous © Tate (Andrew Dunkley)
and Tate Americas Foundation TOP IMAGE
With kind assistance from Veronique Parke Installation view, Andy Warhol at Tate Modern © Tate
BOTTOM IMAGE
Cooking Sections, Art Now: Salmon: A Red Herring
Tate, 2020. Photo © Tate (Lucy Dawkins) 2020
17TATE MODERN TATE BRITAIN
BRUCE NAUMAN LYNETTE YIADOM-BOAKYE
OCTOBER 7, 2020 – FEBRUARY 21, 2021 FLY IN LEAGUE WITH THE NIGHT
SUPPORTED BY DECEMBER 2, 2020 – MAY 31, 2021
Terra Foundation for American Art SUPPORTED BY TOP IMAGE
Lynette Yiadom-Boakye: Fly In League With The
WITH ADDITIONAL SUPPORT FROM Denise Coates Foundation Night at Tate Britain 2020.
Photo: Tate (Seraphina Neville)
The Bruce Nauman Exhibition WITH ADDITIONAL SUPPORT FROM
Supporters Circle: The Lynette Yiadom-Boakye Exhibition BOTTOM LEFT IMAGE
Hyundai Commission: Kara Walker: Fons
The Magic Trust Supporters Circle: Americanus
Installation images:
Laurel and Paul Britton Abigail and Joseph Baratta © Ben Fisher © Tate photography (Matt
Josef W. Froehlich Amanda and Glenn Fuhrman Greenwood
Lydia and Manfred Gorvy Pamela J Joyner and Alfred J Giuffrida BOTTOM RIGHT IMAGE
Installation view of Bruce Nauman at Tate Modern
David Meitus and Angela Westwater Lydia and Manfred Gorvy featuring Human Nature /Knows Doesn’t Know
Tate Americas Foundation, Peter Dubens 1983/1986.
Photograph by Tate Photography (Matt
Tate International Council Tate Americas Foundation, Greenwood). Artwork (c) Bruce Nauman / ARS, NY
and DACS, London 2020
and Tate Patrons Tate International Council,
Tate Patrons
and Tate Members
TATE MODERN
DORA MAAR
NOVEMBER 20, 2019 – MARCH 15, 2020 TATE BRITAIN
SUPPORTED BY STEVE McQUEEN YEAR 3
John J. Studzinski CBE NOVEMBER 12, 2019 – JANUARY 31, 2021
WITH ADDITIONAL SUPPORT FROM Year 3 is a partnership between Tate,
Tate Americas Foundation, Artangel and A New Direction
Tate Patrons SUPPORTED BY
and Tate Members Joseph and Abigail Baratta
De Ying Foundation
Bloomberg Philanthropies
TATE MODERN WITH ADDITIONAL SUPPORT FROM
HYUNDAI COMMISSION Dana and Albert R. Broccoli
KARA WALKER: Fons Americanus Charitable Foundation
OCTOBER 2, 2019 – FEBRUARY 7, 2021 The Garcia Family Foundation
IN PARTNERSHIP WITH Wagner Foundation
Hyundai Motor and Tate Americas Foundation
SUPPORTED BY
Sikkema Jenkins & Co.
WITH ADDITIONAL SUPPORT FROM
Tate Americas Foundation
18TATE BRITAIN
TATE BRITAIN WINTER COMMISSION
CHILA KUMARI SINGH BURMAN
NOVEMBER 14, 2020 – FEBRUARY 28, 2021
SUPPORTED BY
The Tate Britain Winter Commission 2020
Supporters Circle:
Elena Bowes
Priya Rath & Vishrut Jain
Roland Rudd
and those who wish to remain anonymous
and Tate Americas Foundation
TATE BRITAIN
TURNER’S MODERN WORLD
OCTOBER 28, 2020 - SEPTEMBER 12, 2021
SUPPORTED BY
The Manton Foundation
WITH ADDITIONAL SUPPORT FROM
The Turner’s Modern World Exhibition
Supporters Circle:
Tavolozza Foundation
Tate Americas Foundation
Tate International Council
Tate Patrons
and Tate Members
TATE MODERN
ZANELE MUHOLI
NOVEMBER 5, 2020 - MAY 31, 2021
SUPPORTED BY LEFT IMAGE
Winter Commission: Chila Kumari Singh Burman –
The Zanele Muholi Exhibition Remembering a Brave New World.
Photo courtesy Tate photography (Joe Humphrys)
Supporters Circle:
Veronica and Lars Bane Foundation TOP RIGHT IMAGE
Installation views, Zanele Muholi at Tate Modern
The Mead Family Foundation © Tate (Andrew Dunkley)
Tate Americas Foundation, BOTTOM RIGHT IMAGE
Tate International Council, Installation view, Turner’s Modern World at Tate Britain © Tate
Tate Patrons FOLLOWING PAGE
The Hyundai Commission: Kara Walker during UNIQLO Tate
and Tate Members Late, Photo courtesy of Tate photography
Research supported by Hyundai Tate Research Centre:
Transnational in partnership with Hyundai Motor
19OUR SUPPORTERS
LATIN AMERICAN NORTH AMERICAN
ACQUISITIONS COMMITTEE ACQUISITIONS COMMITTEE
Tiqui Atencio Demirdjian (Co-Chair) Alin Ryan Lobo Gregory R Miller (Co-Chair) Sami Mnaymneh
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Anonymous Sofia Mariscal and Guillermo Penso Blanco Jacqueline Appel and Alexander Malmaeus Alexander Petalas
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Francesca Bellini and Allan Hennings Susan McDonald Chrissy Taylor Broughton and Lee Broughton Laura Rapp and Jay Smith
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COMMITTEES
21Anne H Bass Foundation
Debby Brice
Suzanne Deal Booth
Pieter and Olga Dreesmann
Doris Fisher
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Susan Hayden
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INTERNATIONAL
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NORTH AND LATIN
AMERICAN MEMBERS
22$500,000+ $50,000 - 99,999 $25,000 - 49,999
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Lydia and Manfred Gorvy Michael A Chesser Shabin and Nadir Mohamed
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$100,000 - 499,999 Pamela J Joyner and Fred J Giuffrida Michael Corman and Kevin Fink Catherine Petitgas
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Foundation Robert Soros Lisa Garrison Komal Shah
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The Shen Family Charitable Foundation
Surgo Donor Advised Fund
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JANUARY 1, 2020 AND MARCH 31, 2021
23$10,000-24,999 Marjorie and Michael Levine $5,000 - 9,999 Under $1,000
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Anne H. Bass Foundation Sofia Mariscal and Guillermo Penso Blanco Emma Goltz Timothy Griffith
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Celia Birbragher Gabriela Mendoza Regen Projects Teiger Foundation
Countess Nicole Brachetti Peretti Gregory R Miller Sybil Robson Orr Michael G and Jane Wilson
Luis Javier Castro Mohammad N. Miraly The Philip and Irene Toll Gage Foundation
Richard Chang Rachelli Mishori and Leon Koffler
Dillon Cohen Nancy Nasher and David Haemisegger $1,000 - 4,999
Simone Coscarelli Parma Veronica Nutting Anonymous
H.S.H. the Prince d’Arenberg Victoria and Isaac Oberfeld The Edward Ariowitsch Foundation and
James Diner Midge and Simon Palley Audrey Wallrock
Olga Dreesmann Veronique Parke Daphne and Robert Bransten
Edlis-Neeson Foundation Silvia Paz Illobre Joseph Carfagna in honor of Paul Britton
Hossein and Dalia Fateh Amy and John Phelan Family Foundation Bettie Cartwright
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Peter Kahng Wagner Foundation Maggi and David Gordon
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Arushi Kapoor Richard Weinstein Sharron Lewis
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Randall Kroszner and David Nelson Michael G and Jane Wilson Kristin Rey and Michael Rubel
Leonard & Judy Lauder Anita and Poju Zabludowicz Sylvia Scheuer
Magarette Lee Jessica Zirinis Ellen Spingarn Shapiro
24ABOUT
The Tate Americas Foundation is a 501(c)(3) independent charity that supports the work of Tate CONTRIBUTION WORKS OF ART
in the United Kingdom. It does this by acquiring works of art—by gift or acquisition— and by
raising money to grant to Tate. The Foundation welcomes gifts from individuals, foundations CATEGORIES Support is welcomed from collectors who
and corporations. Support may be given for general or specific projects including exhibitions, wish to strengthen Tate’s collection by
education, capital projects, international programs, or endowment. making gifts of works of art. Please contact
Support may be made on an annual basis, to us to allow us to confirm that Tate is able to
The charity was founded in 1987 when Sir Edwin Manton and Lady Manton created the American one of three membership programs: accept your gift.
Fund for the Tate Gallery, a restricted endowment to acquire works of art from North and Latin
America for presentation to Tate. For over 32 years, this endowment has purchased seminal $1,000+ Tate Americas Foundation
works by artists including John Baldessari, Louise Bourgeois, Philip Guston, Roni Horn, Joan Jonas, Patron
Christian Marclay, Bruce Nauman, Hélio Oiticica, Cy Twombly, Cindy Sherman, David Smith, Jeff
Wall, Lawrence Weiner, and many more. $1,500+ Tate Americas Foundation
Double Patron
PLANNED GIVING
The Tate Americas Foundation formally opened offices in New York in 1999 to strengthen links with
$15,000 North American
OPPORTUNITIES
the arts community in North and Latin America. Since that time, it has received over $300 million
for Tate. TAF launched the North American Acquisitions Committee (NAAC) in 2001 which has Acquisitions Committee
since acquired works from artists including Roni Horn, Louise Lawler, Josiah McElheny, Raymond Every gift, no matter the size, can help us build
Pettibon, Robert Smithson, Kara Walker and Christopher Wool. The Latin American Acquisitions $15,000 Latin American and care for the collection. Your legacy will
Committee (LAAC) was formed in 2003 and has acquired works from artists including Maria Acquisitions Committee ensure that resources are in place to help us
Fernada Cardoso, Lygia Clark, Gego, Felix Gonzalez-Torres, Guillermo Kuitca, Cildo Meireles and plan and secure Tate’s future with confidence.
Hélio Oiticica. For further information on bequests,
life income plans (in exchange for cash,
In addition to acquiring art, the Tate Americas Foundation makes grants to Tate using funds that
it has raised. It supports numerous programs at Tate particularly in the fields of exhibitions,
BESPOKE SUPPORT TO marketable securities or other assets –
including works of art), please contact:
scholarship, and education. TATE Catherine Carver Dunn
Please contact us or visit www.guidestar.org if you wish to see IRS Form 990. Executive Director
From corporate sponsorship to individual
support of Tate’s exhibitions and programs, we Tate Americas Foundation
work closely with our donors to identify projects 520 West 27 Street Unit #404
that align with their personal and philanthropic New York, NY 10001
interests and create bespoke opportunities to Tel: 212 643 2818
FOLLOWING PAGE
enhance Tate’s work. Fax: 212 643 1001
Installation view, Steve McQueen Year 3 at Tate Britain
© Tate
Email: cdunn@tateamericas.org
25THANK YOU FOR YOUR SUPPORT
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