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344:(NACF) for a £75,000 grant towards buying the work. He had stated that the Tate had made no prior commitment to purchase the work, whereas they had in fact already paid a first instalment of £250,000 several months previously. He attributed this to "a failing in his head". Revelation of the application also raised the issue that the current chairman of NACF
282:
There is also extra pressure as Chris is getting married next week and I suspect he may be less willing than previously to wait for an extended period in terms of finance. Evidently, especially as Chris is a trustee, this is a sensitive situation, but if you could give me some indication as to which
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I don't think many people realise how the Tate is run—I certainly didn't. Serota, as the director, chooses the trustees, and the trustees are then responsible for reappointing the director. The director then buys the trustees' work. There is nominally an external inspector, but in practice there are
254:
published an article by their arts correspondent, Chris
Hastings, with the heading, "Chris Ofili said artists should give work to the Tate for nothing... so why has he accepted £100,000 for one of his dung pictures?" It expressed criticism of the Tate's purchase, because Ofili was a serving trustee
427:
completed an investigation into The Tate's purchase of Ofili and other trustees' work, censuring the gallery for acting outside its legal powers. It ruled the Tate had broken charity law (but not the criminal law) over the purchase and similar trustee purchases, including ones made before Serota's
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Serota said Miro would have to find half the cost, and she obtained £300,000 in donations towards the purchase from five anonymous private benefactors, several of whom were also buying their own Ofili work. The revelation of this arrangement caused questions to be raised in the press as to whether
401:
alleging that the purchase of a trustee's work in these circumstances was a breach of charity law. In addition to the problems concerning the purchase of the work, difficulties were also found in the display of the work. A leaked Tate
Conservator's report mentioned (potential) damage due to the
336:
pointed out that work by every serving artist trustee had been acquired during Serota's tenure. Official DCMS guidelines caution against commercial transactions with trustees: "even the perception of a conflict of interest in relation to a board member can be extremely damaging to the body’s
264:, as well as other newspapers, over the following few months, detailing more aspects of the purchase. Initially the Tate had attempted to reduce the price, but Miro refused: she said she had lowered it from the price she originally wanted of £750,000 to £600,000 (making £705,000, including
387:
with slogans such as "£25,000 Turner Prize, £705,000 Trustee Prize", and were approached by Serota, who became tense, according to
Stuckist leader, Thomson. In front of guests at the award ceremony that evening, in what was described as a "moment of rare passion" and an "unusual, possibly
26:
82:
315:, co-founder of the Stuckists, said, "Sir Nicholas Serota mentions Victoria Miro's generosity in constructing this deal. Victoria Miro’s 'generosity' would seem to be in attracting benefactors who will give money to the Tate—so that the Tate can then give it back to her."
209:, and the museum was forced to release previously-confidential trustee minutes relating to the purchase, as well as revealing that £100,000 had been donated by Tate Members towards it. The minutes showed that the Tate had begun negotiations with Ofili's dealer to purchase
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unprecedented" move, he spoke out with "an angry defence" of the purchase, saying, "I defy anybody who has actually taken the time and trouble to see the work not to agree with the trustees' decision to acquire this most extraordinary and important piece of work."
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holds the paintings. The room is approached through a dimly-lit corridor, which is designed to give a sense of anticipation. There are thirteen paintings altogether, six along each of two long facing walls, and a larger one at the shorter far end wall.
111:
The paintings each rest on two round lumps of elephant dung, treated and coated in resin. There is also a lump of the dung on each painting. Strictly speaking, each work is mixed media, comprising paint, resin, glitter, mapping pins and elephant dung.
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is a reference to the
Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race.
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was "one of the most important works of
British art painted in the last 25 years," that the Tate had got "the bargain of the century," and "If you ask me, Miro and Ofili deserve medals for acting not in their own interests but for the public good."
149:, who wrote, "It is certainly the bravest, and one of the most original works I have seen by a painter for years ... It would be a great pity to split The Upper Room apart, to sell the paintings one by one. The Tate should buy it."
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then organised a consortium of five benefactors to donate half the purchase price, whilst also buying their own Ofili work privately. The
Stuckists then led a media campaign over the Tate's purchase of
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drawing. The larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room. The room is designed to create an impressive and contemplative atmosphere.
255:(which had not previously been mentioned in the press), and, furthermore, the previous year had urged other artists to donate work to the Tate because of a shortage of funds to buy new acquisitions.
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In the same week as announcing the purchase, the Tate rejected a donation of 160 Stuckist paintings valued at £500,000 and was accused of "snubbing one of
Britain’s foremost collections", the
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Negotiations began between
Victoria Miro and the Tate in 2002, but it was not until 2005 that the work was finally purchased. In July 2005 this was publicly announced as part of the new
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could be reclaimed. The
Stuckists have also pointed out that, during the period of the negotiations, works by the artist had suffered a decline in price, but had doubled after it.
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Each painting depicts a monkey based around a different colour theme (grey, red, white etc.). The twelve smaller paintings show a monkey from the side and they are based on a 1957
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lighting level and that the work might have to be removed from display. It was out of commission for a short time, due to the lights not working properly.
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the private benefactors knew privileged information, and if they anticipated a profit through the increased value of Ofili's work after the Tate purchase.
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called the verdict "one of the most serious indictments of the running of one of the nation's major cultural institutions in living memory."
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602:"Chris Ofili said artists should give work to the Tate for nothing... so why has he accepted £100,000 for one of his dung pictures?"
322:(DCMS), assuring them that this purchase of a serving trustee's work was "exceptional" and had happened on only one other occasion.
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said, "Victoria Miro, Mr Ofili’s dealer, appears to have driven a hard bargain with the Tate, which is the job of a clever dealer."
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when an unnamed
American collector was going to enter into a joint purchase with the museum. When this fell through, Ofili's dealer
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way to proceed, I will ensure that your decision is handled with discretion. Ideally I would still love the work to go to the Tate.
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Serota refuted this statement, saying, "I don't have any part to play in their appointment." Thomson responded in
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In December 2005, Serota admitted that he had filled in with false information an application form to the
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magazine, showed that the Tate had acquired work by six serving artist trustees, in one case 50 works.
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to investigate the trustees who had ratified the decision and he found that Ofili was one of them.
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art group as Ofili was on the board of Tate trustees at the time of the purchase. In 2006 the
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was until 2004 Chairman of the Tate Trustees. The NACF allowed the Tate to keep the grant.
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Chris Ofili's term of office as a trustee expired in November 2005. He was replaced by
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in 2002, when it generally received very favourable reviews, especially from
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and was the cause of a media furore after a campaign initiated by the
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very few checks. Basically the Tate are appointing their own bosses.
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The Physical Impossibility of Death in the Mind of Someone Living
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censured the Tate for the purchase, but did not revoke it.
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as a whole is described by the Tate as an "installation".
865:"Tate broke charity laws by buying art from its trustees"
724:"Tate Disregarded Official Advice in Buying Trustee Art"
532:"Tate rejects £500,000 gift from 'unoriginal' Stuckists"
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by Chris Ofili, 1992-2002. One of thirteen paintings in
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701:"Tate pays its own trustee £600,000 for ape paintings"
363:, 2005: Stuckists demonstrate against the purchase of
494:"How Ageing Art Punks Got Stuck into Tate's Serota"
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57:in a specially-designed room. It was bought by the
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729:, 19 November 2005. Retrieved 23 March 2006
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690:, 1 November 2005. Retrieved 22 April 2008.
677:, 28 October 2005. Retrieved 22 April 2008.
656:, 29 November 2005. Retrieved 13 July 2008.
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409:was £705,000, costing the Tate £600,000 as
383:on 6 December 2005 against the purchase of
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804:, 6 December 2005. Retrieved 24 March 2006
785:, 7 December 2005. Retrieved 24 March 2006
610:, 14 August 2005]. Retrieved 24 March 2005
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1607:Everyone I Have Ever Slept With 1963–1995
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1170:List of Turner Prize winners and nominees
908:, 19 July 2006. Retrieved 1 February 2008
884:"Tate's Ofili purchase broke charity law"
688:"How Tate got the bargain of the century"
873:, 21 July 2006. Retrieved 22 April 2008.
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648:"Something smells funny at the Tate..."
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513:"Tate buys Ofili's roomful of apostles"
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258:There followed a series of articles in
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131:The work was first exhibited at the
18:For other uses of "Upper Room", see
755:"Tate Broke Own Rules on Ofili Buy"
178:show. This led Stuckist co-founder
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274:obtained an email sent by Miro to
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2074:British contemporary works of art
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207:Freedom of Information Act 2000
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371:. The cutout is Tate Chairman
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815:"Tate and trust in the arts"
175:The Stuckists Punk Victorian
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230:The Hypocrisy of Myners
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1695:East Country Yard Show
1465:Jane and Louise Wilson
1310:Jake and Dinos Chapman
1096:Sir Joseph Duveen, Bt.
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882:Alberge, Dalya (2006)
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777:"Notebook" (2nd item)
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133:Victoria Miro Gallery
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1491:Michael Craig-Martin
898:Higgins, Charlotte.
794:Higgins, Charlotte.
760:The Sunday Telegraph
631:The Sunday Telegraph
607:The Sunday Telegraph
272:The Sunday Telegraph
261:The Sunday Telegraph
251:The Sunday Telegraph
1956:Sir Nicholas Serota
1936:Andrew Graham-Dixon
1614:For the Love of God
1214:Frankfurt Art Theft
1176:The Weather Project
924:on the Tate website
870:The Daily Telegraph
782:The Daily Telegraph
450:In October 2008 in
431:The Daily Telegraph
391:Christopher McCall
297:The Daily Telegraph
49:of 13 paintings of
2007:Julian Stallabrass
1527:Art & Language
1445:Sam Taylor-Johnson
686:Dorment, Richard.
425:Charity Commission
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753:Hastings, Chris.
741:The Art Newspaper
624:Hastings, Chris.
600:Hastings, Chris.
492:O'Keeffe, Alice.
423:In July 2006 the
333:The Art Newspaper
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1987:James Heartfield
1961:Matthew Slotover
1951:Norman Rosenthal
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2053:Turner Prize
2002:Brian Sewell
1931:Richard Cork
1900:Jack Wendler
1880:Jose Mugrabi
1753:Jon Thompson
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1532:Art in Ruins
1501:Jon Thompson
1400:Stephen Park
1385:Abigail Lane
1370:Damien Hirst
1355:Liam Gillick
1315:Adam Chodzko
1285:Fiona Banner
1227:
1226:Purchase of
1218:
1195:
1188:
1181:
1174:
1123:Turner Prize
1056:Alan Bowness
1038:J. B. Manson
992:Tate St Ives
977:Tate Britain
928:
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905:The Guardian
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832:Adams, Guy.
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584:. Retrieved
580:
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559:. Retrieved
554:
545:
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518:The Guardian
516:
507:
499:The Observer
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457:
451:
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422:
418:Anish Kapoor
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381:Turner Prize
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361:Tate Britain
357:Turner Prize
355:Outside the
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158:Tate Britain
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146:The Guardian
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98:David Adjaye
95:
89:
85:
47:installation
41:
40:
39:
29:
15:
1921:Louisa Buck
1855:Frank Cohen
1779:City Racing
1743:Gregor Muir
1593:Bullet Hole
1557:Andy Warhol
1496:Ian Jeffrey
1395:Sarah Lucas
1390:Chris Ofili
1335:Tracey Emin
1330:Tacita Dean
1300:Glenn Brown
1116:Exhibitions
1077:Benefactors
1050:Norman Reid
987:Tate Modern
669:"Dung heap"
373:Paul Myners
365:Chris Ofili
346:David Verey
328:The Jackdaw
242:Paul Myners
164:Controversy
106:Andy Warhol
55:Chris Ofili
34:Chris Ofili
2068:Categories
1941:Sarah Kent
1833:Collectors
1824:White Cube
1688:Brilliant!
1586:Break Down
1547:Jeff Koons
1520:Influences
1450:Gavin Turk
1420:Marc Quinn
1345:Nick Fudge
1290:Henry Bond
1197:Shibboleth
1183:Embankment
1085:Henry Tate
470:References
127:Background
2048:Post-YBAs
2012:Stuckists
1997:David Lee
1970:Opponents
1914:Advocates
1850:Eli Broad
1762:Galleries
1716:Sensation
1425:Fiona Rae
1375:Gary Hume
1220:Tate Etc.
1190:Test Site
1091:Hugh Lane
1013:Directors
970:Galleries
887:The Times
820:The Times
727:The Times
706:The Times
674:The Times
537:The Times
398:The Times
395:wrote to
324:David Lee
308:The Times
2026:See also
1726:Curators
1571:Artworks
1474:Teachers
1029:(Keeper)
1023:(Keeper)
837:Archived
586:1 August
561:1 August
342:Art Fund
236:artist,
234:Stuckist
190:—
77:The work
67:Stuckist
1278:Artists
453:Varsity
300:, said
2043:Momart
1702:Freeze
1628:My Bed
276:Serota
238:Mark D
45:is an
1680:Shows
1663:Tense
1621:House
1207:Other
438:Notes
1977:BANK
1635:Myra
1163:2013
1158:2012
1153:2011
1148:2010
1143:2009
1138:2008
1133:2007
1128:2006
1100:Sir
1089:Sir
1083:Sir
1060:Sir
1054:Sir
1048:Sir
1042:Sir
1019:Sir
963:Tate
588:2016
563:2016
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