Tonight in New York the Tate Americas Foundation (née American Patrons of Tate) will host a dinner at Moynihan Station to raise funds for the museum, and the Glasbow–based artist Jim Lambie has been tapped to DJ the after party. In his art, Mr. Lambie has an exuberant touch, carefully covering floors with patterns of Read More
Since 1999, American Patrons of the Tate, a charity founded in 1987 to rally support in the Americas for London’s Tate Gallery, has raised over $100 million in cash and art donations. Now, in an effort to reflect its broad membership, it is changing its name to Tate Americas Foundation, and adding a live auction Read More
In 2004, a fire at an art-storage facility in London run by a company called Momart destroyed works by some 100 artists, including Tracey Emin’s iconic camping-tent sculpture Everyone I Have Ever Slept With 1963–1995 (1995). There are no plans to reconstruct the work. “It took me six months to make,” Ms. Emin has said. “I couldn’t remake that time in my life any more than I could remake the piece.”
Tate’s director, Nicholas Serota, is having a great day, announcing that his museum has accepted a gift of nine prime postwar works, including pieces by the recently deceased Lucian Freud and David Hockney, from London collectors and philanthropists Mercedes and Ian Stoutzker. The BBC has the story.
Today it was announced that the Israel Museum jointly acquired Christian Marclay’s The Clock with the Tate in London and Centre Pompidou in Paris. It’s hard to believe it’s been less than a year since Mr. Marclay’s 24-hour-long film, which cleverly counts down the seconds of a full day using images of clocks from throughout the history of cinema, had its New York debut at Paula Copper Gallery. The piece caused a sensation, leaving many critics enraptured–aside from a few scattered sticklers. The Clock came in an edition of six, and most have already landed in the permanent collections of major museums.
Citing ongoing construction at Tate Britain Millbank, Tate announced that it will not stage a 2012 triennial, which was to have been its fifth edition, according to The Art Newspaper. “[W]e have slightly rejigged and reviewed the rhythm of our programme for next year,” a Tate spokesperson told the paper, which ended with these words: “Don’t hold your breath for a 2015 triennial.”