Peter O’Donohoe, the Tate’s senior executive officer, responded in a 1974 memo: “I find it difficult and alarming to believe that the only way of obtaining information…from these artists was to allow them to become intoxicated… I would be very loathe to put much credence on anything said that was alcohol assisted.”
When Art Newspaper refers to “the bricks” I am assuming it is a Carl Andre piece they are speaking of that caused so much hoopla that it overshadowed a video of the two flamboyant artists getting drunk at lunch with 3 Tate curators which was also aquired by the museum.
The curators made the excuse that they encouraged the liquid courage so they could get answers from the normally cagey artists. Sounds like a good plan to me!
I also find it humorous (or depressing) that in 1972 one could get drunk for £16.51 (3 bottles of wine and 12 glasses of port!). Well done boys.
LONDON — It’s 10am on the last Saturday of January, and Tate Britain is predictably sleepy. The museum has just opened its doors for the day, and a modest coterie of visitors treads lightly to preserve the morning hush.
But that tranquility won’t last long. Eight artist-activists enter the members-only café overlooking the museum’s pristine rotunda. Gaining entry to the café is no covert op; the activists are Tate members. They position themselves in the café’s outward-facing niches, encircling the rotunda. Clad in black, the unofficial uniform of the performance artist, they pull on sheer black veils. Each dissident reaches into a brown paper bag and, perhaps taking a page from Guggenheim protesters last year, proceeds to theatrically toss fake money into the gallery below — specifically, the BP Displays portion of the BP Walk Through British Art.
After years of legal wrangling, the Tate museums group has finally disclosed the details of its sponsorship agreement with oil company BP. The information includes figures from the years 1990–2006, over which time BP gave the institution between £150,000 and £330,000 (~$225,800–497,550) annually, adding up to a total £3.8 million (~$5.7 million). The numbers, which were released today by the arts and activism organization Platform London, are much lower than some observers expected.
Around 52,000 letters, sketchbooks, photographs, and other ephemera of 20th-century British artists will be accessible online by next summer. The first 6,000 items were revealed this month as part of the Tate Archive.
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“Statue of the Dead Christ” (courtesy The Mercers’ Company) (all images via Tate Britain)
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