Giant Arc Design / studio@giantarc.co.uk

Bloomsbury House, 74-77 Great Russell Street, London WC1B 3DA T. 020 7612 0730 F. 020 7631 4230 cas@contempart.org.uk www.contempart.org.uk

We promote the collecting ofcontemporary art through our giftsto public museums and the adviceand guidance we offer companiesand individuals Contemporary ArtSociety_Annual Report 2002/2003

We promote the collecting ofcontemporary art through our giftsto public museums and the adviceand guidance we offer companiesand individuals Contemporary ArtSociety_Annual Report 2002/2003

CAS

Annual Report 2002/3 Artist PatronsSir Anthony Caro, OMBridget Riley, CH

Vice-PatronsBryan FerryDavid GordonCaryl HubbardPauline Vogelpoel Mann (1984-2002)The Lord McAlpine of West GreenThe Lord and Lady Sainsbury

of Preston CandoverThe Lady VaizeyThe Viscount and Viscountess Windsor

Committee MembersOliver Prenn, ChairmanPesh Framjee, Honorary TreasurerMark Stephens, Honorary SolicitorLance Blackstone, Honorary SecretaryJolyon Barker until July 2002Philip Hewat-Jaboor until November 2002Doris Lockhart SaatchiSean Rainbird until December 2002Caroline Summerfield from February 2003Babs ThomsonEdwin Wulfsohn

DirectorGill Hedley

Projects DirectorCat Newton-Groves until March 2003

Collections CuratorMary Doyle

Assistant Collections CuratorCeri Lewis

Events/Membership ManagerWynne Waring

Office ManagerPaula Hollings

ARTfutures SelectorJeni Walwin

Accountant (part time)Suzana Bakar

Accounts Assistant (part time)Anna Bayraktar

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Contents C o n t e m p o r a ry Art Society_Annual Report 200 2 / 2 00 3

About Contemporary Art Society 02Chairman’s Statement 03Director’s Report 07Museums Report 11Purchases for Special Collection Scheme 19Projects and Consultancy 22Members’ Events 23Member Museums 26Statement of Financial Activities 30Acknowledgement to CAS funders 32

03_CAS

Chairman’s Statement

The Contemporary Art Society activelysupports living artists, and for ninetyyears, has backed its own judgementsabout which works of contemporary art should be presented to publicmuseum collections.

I cannot overestimate the benefits to artists and museum visitors provided byCAS. It plays a vital role in supportingand spreading enthusiasm for the workof living artists throughout the country.Richard Cork

CAS has presented over 5000 works ofcontemporary art to its member museumst h roughout Britain since 1910 by artists from HenryMoore, Francis Bacon and David Hockney toAnthony Caro, Damien Hirst and Mona Hatoum.

CAS is a registered charity supported by its members and grants from Arts CouncilEngland, Arts Council London, The HenryMoore Foundation, the Scottish Arts Council,the Esmée Fairbairn Foundation and theGulbenkian Foundation.

CAS continues to raise funds to benefitninety-six collections in England, Scotland,Wales and N. Ireland.

C A S has secured major Arts Council of Englandlottery funding on behalf of 15 membermuseums and Scottish Arts Council lotteryfunding on behalf of a further six museums.

CAS raises funds for its museum purchasesthrough advice to companies wishing todevelop corporate collections and consultancywork for individuals and institutions.

CAS offers professional guidance to thosedeveloping contemporary collections orcommissioning art or craft.

CAS also organises ARTfutures, an annualselling event to encourage collecting andsupport artists.

CAS individual members join in our events andactivities because they have a curiosity aboutor commitment to contemporary art.

CAS is an active conduit for gifts andbequests, enabling private collectors to enrichcollections through Britain and have theirnames linked with their gifts in perpetuity.

CAS encourages individuals to collectcontemporary art and enjoy art by living artists.An extensive range of events, visits to studiosand private collections, lectures and overseastrips, are advertised in a regular newsletter.

For further information and membership forms please contact:Wynne WaringContemporary Art SocietyBloomsbury House, 74-77 Great Russell StreetLondon WC1B 3DA

Telephone 020 7612 0730Facsimile 020 7631 4230Email cas@contempart.org.ukor visit our website at w w w. c o n t e m p a r t . o r g . u k

I place Gill Hedley first this year as it wouldbe all too easy among other headlines tooverlook the fact that she celebrates 10years as Director of the Contemporary ArtSociety. She shrewdly combines traditionwith innovation, and whether we talk of theSpecial Collection Scheme, the move toBloomsbury, the continuing pleasures ofARTfutures, our still new relationship withthe Scottish Arts Council or events at homeand abroad, Gill will have made a singularcontribution of effort, integrity and humour.I thank her warmly on behalf of all themembers, and wish her many more years in a developing role.

Pauline Vogelpoel Mann, however, set arecord which it will be difficult to match. She was Organising Secretary from 1956,re-named Director in 1976, and stayed until1982, a total of 26 years. As recently as2001, she advised on and participated in a memorable members’ trip to Basel. Wewere aware of her serious illness and shesadly died on 22 December 2002. I wouldlove to quote the Times obituary (26December 2002) in full which includes such statements as “she invented arttourism” - but space precludes. She will be much missed.

Gill Hedley referred last year to the sad deathof Tom Bendhem, one of the great benefactorsto the visual arts, and closely linked to CAS,and we now learn that he has left us his studio in Chelsea, his entire collection, and asubstantial cash bequest. I make no apologyfor the fact that you will read an almostidentical tribute in Gill’s report.

You will have read in successive reports about the Special Collection Scheme, in which15 museums participate, and of which theprincipal funder is the Arts Council EnglandLottery Fund, with a total value of £3.5m. Thishas been proving a great success and has led,directly or indirectly, to our developing a similarrelationship with the Scottish Arts Council,which involves six museums and in excess of £500,000 from the Lottery, SAC and eachmuseum. Members recently visited Scotlandfor four days to see for themselves.

We are often asked where our funds come f rom and the answer is the kindness of friendsrather than of strangers. I re f e r red above to Tom Bendhem, Arts Council England and TheScottish Arts Council; none of us has forg o t t e nNancy Balfour and her family; I must add tothese The Henry Moore Foundation, the EsméeF a i r b a i rn Foundation, Arts Council London,

02_CAS

About ContemporaryArt Society

04_CASThe Fine Family Foundation, The Tr u s t h o u s eCharitable Foundation, Catching Comets donors,member museums and private members themselves. We are immensely grateful to all of theabove but it is never enough to buy all the art wewant to enliven our museums; please dig a littledeeper and send us a donation in time for our next distribution in 2004.

ARTfutures was again successfully held at the City of London School in April, achieved a turnover of £155,000 and made many buyers and artists happy. It remains free to enter andcarefully selected. See Gill’s report.

Sean Rainbird, Curator of Contemporary Art, Ta t e ,resigned in December after several years’ valuableservice on the Committee. Caroline Summerfieldjoined us in February 2003. I thank Sean andwelcome Caroline. Good news is that Vicente To d o l í ,new Director of Tate Modern, joined the Committeeon 10th July 2003 and is also warmly welcomed.

I end by thanking my colleagues on theCommittee, and all members of our devoted staff: the faces do change but the level ofcommitment is always high.

Oliver PrennChairman

Catherine YassLord Mayor, 2002Commissioned on behalf of Nottingham Castle Museum& Art Gallery.©The artist

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Director’s Report It always feels strange to summarise a yearthat is defined by the financial year end ratherthan the calendar but now that ARTfuturesbegins and ends our year, I have a clearerpicture in my head.

April has been described as the cruellestmonth - and certainly the hardest work for us. In both April 2002 and 2003 we werehonoured to be the guests of the City ofLondon School during their Easter vacationenabling us to stage ARTfutures and its 1000 works in a beautiful building facing the Thames and Tate Modern and right nextto the Millennium Bridge.

We are indebted to the Headmaster, his staff, especially the Bursar, and his Trustees,among whom is Edwin Wulfsohn who is alsoa CAS Committee Member and made the link for us. We are very grateful to them all.

Jeni Walwin directed the event with thesupport, for both years, of Kerry Duggan andKelly Carmichael, assisted this year by Stevenvan Grinsven. Clive Garland and his team,and a group of energetic and enthusiasticsellers, packers and store-keepers helped togive the event its usual integrity, substanceand style. It is hugely exciting to be part of

ARTfutures because of the pleasure that itgives to both buyers and artists. One artistsaid ARTfutures was the most professional,profitable and speedy process that he’d everbeen involved in. What a compliment to allthose named above to whom, as ever, I wantto extend my gratitude for all the work theydo and the wonderful atmosphere that they create.

CAS staff increasingly have so many moreprojects to work on that ARTfutures is largely run by freelance support but PaulaHollings, Office Manager, Wynne Waring,Membership and Events Manager, and Anna Bayraktar, Accounting Assistant, also found time to play an active part inthis,our most public annual event. Wynnewrites elsewhere (page 23) about the eventsthat she has organised in the busy year since she joined us.

Mary Doyle and Ceri Lewis, CollectionsCurator and Assistant Curator, spend much of their time travelling around thecountry and beyond, looking after curatorsand enabling them to make adventurouspurchases. It may sound like a dream job butit is a huge task and they undertake it withconsummate skill. Their report is on page 11.

Jananne Al AniVeil, 1997 (detail)Purchased on behalf of Ferens Art Gallery, Hull. ©The artist

09_CAS08_CASof glass or ceramic and it will be a pleasureto honour him with a gift to a museum in this way.

In the last annual report, I mentioned oursadness at the death of Tom Bendhem,whose name belongs in the list of “giants”above. In recent weeks, we have learnedwhat a true friend and extraordinary man Tom was.

He has made bequests to many of the artsorganisations he so generously supported but CAS has been singled out. Not only hasTom left us his beautiful studio, a valuableproperty, but also his entire art collection anda substantial cash bequest. We are workingwith his executors to find the appropriate and most celebratory ways of honouring this remarkable patron of the arts.

This wonderful and unexpected news leadsme to the other highlight of 2002/3.

Over several years, I have been in negotiationwith the Scottish Arts Council about thecreation of a national collecting scheme forScotland. In April 2002, we were awarded£65,000 from the Lottery through SAC to helpdevelop collecting - private, corporate and

normally I turn to Oliver first whether withgood news or bad, or simply a problem. He is unfailing with his good advice andthoughtfulness and devotes himself equally to tackling the essential irritants of a small arts organisation and celebrating the triumphs. Oliver is both Chairman and an active CAS member - he buys fromARTfutures, comes on bus trips and relishesoverseas visits. His energy and commitmentare much appreciated by everyone and are inspiring.

He and I want, in turn, to thank all theCommittee Members for their time, goodhumour and wisdom. Jolyon Barker and Philip Hewat Jaboor have now left us and,after a very long period of informed supportand judicious purchasing for us, SeanRainbird finally persuaded us to accept hisresignation. We are delighted to welcomeCaroline Summerfield to the Committee. She has been an active CAS member forseveral years and we look forward to heradvice, especially regarding property law.

With new premises, the Tom BendhemBequest, the National Collecting Scheme forScotland starting and the Special CollectionScheme ending its first phase of funding,

We also want to pay tribute to the effortsmade by the committee that runs Blood, our email-based new membership initiative(see www.bloodarts.org) - especially Obi Felten, its Chair. Blood was launchedofficially in October 2002.

In November 2002, CAS had to move for only the second time in its long history.Having returned to Bloomsbury in 1997,where we were conceived, I am delighted thatwe have moved only to the other side of theroad to very elegant and spacious premises.Visiting Arts, the organisation that supportsincoming artists and administrators to the UK, have moved to the floor above us, whichopens up all sorts of possible collaborations.

Paula Hollings organised the search forpremises as well as the move and all of hercolleagues were grateful for the burden sheshouldered. Paula left in early May 2003 withour best wishes and thanks. Liz Cooper hastaken over as Office Manager, having learnedall about us while working at ARTfutures.

2002/3 has brought sadness and joy and it’sdifficult to know how to order these events.

Over the last year or so, many very

distinguished and much loved art worldfigures have died, all closely associated with CAS. We have lost David Brown, DavidSylvester, Bryan Robertson and, only weeksago at the time of writing, Joanna Drew: allCAS Committee Members and buyers, andwhose reputations remind me that, in thisrole, “if I have seen further it is by standing on the shoulders of giants”.

In December 2002, we also lost one of CAS’most memorable and adored figures: PaulineVogelpoel OBE, who as Organising Secretaryand Director, defined CAS and its style from 1956-1982. On behalf of all staff andCommittee members over the decades, Iwant to acknowledge the importance of herrole in making CAS so well loved. The annualreports during her tenure simply summariseher many achievements so I hope this onecan be a testament to her.

In March 2003, Brian Willis died. With GregWorth, he was one of the most delightful oftravelling companions on so many CAS tripsand, along with many of his friends and fellowCAS members, I was immensely touched tohear during a eulogy at his funeral just howmuch those travels had meant to them both.Brian has left £5,000 to CAS to buy a work

I want to pay tribute to the way in which everyone of the staff at CAS supports each other,and me, by their flexibility and commitment tothe essential aim of CAS - support for artists,members and museums.

This triumvirate is listed simply A-Z here: noone element is less important than the othersand each member of staff plays a distinctivepart in that aim, supported by Suzana Bakar,our Accountant, whether helping to raise ourfunds or spending them.

Cat Newton-Groves and Sandra Mahon,Projects Director and AdministrativeAssistant, and Matthew Poole, Curator of The Economist programme for CAS, all left in March 2003. I want to record my thanks for all their work with The Economist andUnilever, and, in Cat’s case, for the five yearsof devotion to successful projects with BUPA,Seagram, Pearson, Stanhope, SomersetHouse, ARCO in Madrid, the art fairs at theBDC and Fresh Art. We wish them all well in their new ventures.

We all want to thank the wonderful volunteers and interns that have worked soclosely with us over the last year: Kate Reid,Stephanie Taylor, Angela Williams.

public - in Scotland and, in September 2002,learned that we had been awarded furtherfunds which, with contributions from themuseums themselves, amount to £500,000for a National Collecting Scheme for Scotland for six museums from 2003-6. My thanks are due to all colleagues at SAC,especially Amanda Catto and Wendy Law,and colleagues in museums throughoutScotland for their faith in us.

The Esmée Fairbairn Foundation has given usfunds to allow three Scottish museums to joinor rejoin CAS and we are indebted to them aswe are to our other benefactors who supportour purchases and our running costs: TheHenry Moore Foundation, the Arts Councilof England and all those, especially TheTrusthouse Foundation, who have supportedCatching Comets. The Chairman pays histribute to them all on page 3. I would like to single out Sibyl Fine King whose supportfor our work, including The Fine FamilyFoundation’s donation which enabled us to invite the Curator of the GuggenheimMuseum in Venice to give a lecture on thesplendid Peggy Guggenheim, is much valued.

Finally, it is Oliver and the CommitteeMembers to whom I turn. Unusually, because

11_CASIt is exciting for us to see museums’collections take shape as works arepurchased for the Special Collection Scheme (SCS) throughout the year. Thepublic are now also able to see the fruits of the Scheme and the strength of theregional collections, with several museumshighlighting their acquisitions in specificdisplays and major exhibitions.

In November the Towner Art Gallery,Eastbourne, presented Landscape? NewDefinitions through the Contemporary ArtSociety Special Collection Scheme 1999-2002. The works, in a range of media, byTania Kovats, Joachim Koester, Rut BleesLuxemburg, Ceal Floyer and Zoe Walker,referred to Eastbourne’s geographicalposition as a coastal town on the edge ofEngland, whilst challenging the concept ofwhat we term ‘landscape’. These works alsoreflected on the fragility and monumentalityof nature. The exhibition also included earlierCAS gifts of a painting by James Hugoninand a drawing by Graham Gussin.

In January, Birmingham Museum & ArtGallery opened Drawing Parallels, works onpaper by Basil Beattie, Simon Callery andJane Harris, accompanied by earlier

purchases of the artists’ paintings throughSCS. The exhibition explored the linksbetween painting and drawing by looking atthe way each of these artists uses drawingto articulate ideas in their painting. Inaddition the display included a recent CAS gift of pastels and drawings by Jean Spencer.

The strength of the growing collection atNottingham Castle Museum & Art Galleryhas led to the museum being awarded a£20,000 Regional Lottery grant to initiateDrawing with Light, a citywide photographyfestival which takes place in September2003. The festival aims to celebrate diversityof practice in contemporary photography,and will include purchases made through the scheme. These include a series of colourphotographs of contemporary Iran byShirana Shahbazi who subsequently wasawarded the Citibank Photography Prize,2002, and works by Wolfgang Tillmans whohas a major restrospective at Tate Britain in2003. Two makers, Maxine Bristow andShelly Goldsmith, purchased for the craftcollection at the museum, were shortlistedfor the Jerwood Textile Prize, 2002exhibition, which Shelly Goldsmithsubsequently won.

Museums ReportCAS is looking forward with even morebounce in its step to the next year.

For me, it will be a new decade as I joined CAS in 1993. It has been the mostextraordinary ten years of my career and I am well aware of the support that I haverelied on from colleagues, committeemembers, individual members, artists and all those who care for CAS.

In 1993, the Chairman, David Gordon, wrote in the annual report “What is theContemporary Art Society for?” I haveenjoyed answering that for the last ten years and have plenty of new questions of my own to take us up to our centenary in 2010.

Gill HedleyDirector

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13_CAS12_CASDistribution 2004

The buyers for the Distribution Scheme have been appointed for 2003 and we are delighted to welcome Patricia Bickers(Editor, Art Monthly) and Andrew Patrizio(Director of Research Development,EdinburghCollege of Art) for fine art, and CharmianAdams (private collector) for the craftscheme. They are based in different locationsaround the country, which will encourage thepurchase of a breadth of work and inevitablybring new artists to our attention.

Several purchases made through theDistribution scheme were requested for loan to exhibitions in the UK and abroad:

Liam Gillick’s Double Back Platform,2001, was included in his first major soloshow The Wood Way, at the Whitechapel Art Gallery, London, 3 May to 23 June 2002.

Mark Dion and J. Morgan Puett’s The LadiesField Club of York, a suite of 8 sepiaphotographs was loaned to The AldrichMuseum of Contemporary Art, Ridgefield,Connecticut, followed by The Joseloff Gallery,University of Hartford, Connecticut, to March 9, 2003.

Gifts

This year the Contemporary Art Societywas approached by individuals, collectorsand institutions to help place a range of works as permanent gifts to CASmember museums.

Six paintings, two reliefs and severalpastels and drawings by the late JeanSpencer (1942-1998) were presented to the following member museums:Birmingham Museum & Art Gallery;Whitworth Art Gallery, University ofManchester; Manchester Art Gallery;Mead Gallery, University of Warwick andSouthampton City Art Gallery. We wouldlike to acknowledge our gratitude toMarion Waters, Jean’s sister, for hergenerosity in gifting these works, whichhave made such a significant contributionto each collection.

CAS was saddened to hear of the death of Stuart Morgan, critic, curator and writer. The gift of five works from hisprivate collection will be presented tomember museums during the nextdistribution exhibition in 2004, in his memory.

George Shaw, Scenes from the Passion:The Fourth of November , 2002 (coll.Birmingham Museum & Art Gallery), wasloaned to Days Like These, Tate Triennial,London, 26 February to 26 May 2003. HisScenes from the Passion: The Path toPepys Corner, 2001 (coll. Worcester CityArt Gallery) was loaned to Micro/Macro:British Art 1996-2002, Budapest.

Gerhard Stromberg’s Albertblockphotograph, 2001 (coll. Worcester City ArtGallery), toured to Or So It Seemed,Northern Gallery for Contemporary Art,Sunderland, 6 September to 2 November 2002.

Catherine Yass, Cinema: Regal, 2001 (coll.Mead Gallery, University of Warwick), wasloaned to Cinema India: The Art ofBollywood at the V&A Museum, London,26 June to 6 October 2002.

Field of Silver: Silver in a Field, 2002, thework of ten silversmiths (coll. BirminghamMuseum & Art Gallery), was loaned to theScottish Gallery, Edinburgh 1 - 31 July2002, and toured to Detail Zwo,Düsseldorf, 14 September to 20 October 2002.

SCS Loans

The profile of our regional collectionsnationally and internationally increases, witha significantly higher number of fine art andcraft loans than in previous years, both hereand abroad:

Ceal Floyer’s Door, 1995 (coll. Towner Art Gallery, Eastbourne), was loaned toBang: When Seeing is Blinding , CanadianCultural Centre, Paris, 20 June to 14 September 2002.

No Escape, 2000 by Shelly Goldsmith andLife Study I: Caribbean, 2000 by ShizukoKimura (coll. Nottingham Castle Museum & Art Gallery), were included in the JerwoodTextile Prize 2002.

An extended loan of Maria Hanson’s A NewCommunion, 13 silver cups and chalice,(coll. Birmingham Museum & Art Gallery) and Grayson Perry’s Claire’s Coming OutDress, 2000 (coll. Nottingham CastleMuseum & Art Gallery) went to A Sense ofOccasion: significant objects marking diverse contemporary occasions, at WelfareState International, Cumbria, 3 July to 31 August 2002.

SCS Comissions

In collaboration with Opera North, the artist Mariele Neudecker has beencommissioned by Leeds City Art Galleryto make a filmic response to Schubert’ssong cycle Winterreise (A Winter’sJourney). Earlier this year Mariele visitedsnow-scaped locations, based on thesixtieth degree of latitude, in theShetland Islands, Helsinki, Oslo and St.Petersburg. Mariele’s film is beingpresented as an integral part of a liveperformance of Winterreise organised by Opera North, at venues in Glasgow,Leeds, York, and Nottingham.

South London Gallery commissioned a new sound installation by WilliamFurlong which accompanied anexhibition celebrating thirty years of theAudio Arts archive. Come and See is anintriguing recording of an invited crosssection of adults and young people living and working in Peckham andCamberwell. As visitors walked througha corridor they experienced a sense ofplace and time, through the humour,passions and beliefs of the localinhabitants.

Two of four graphite drawings by LindaKarshan (coll. Middlesbrough Art Gallery),were loaned to the artist’s first soloexhibition at IVAM, Institute of Modern Art,Valencia, 16 May to 7 July 2002, followedby three drawings to her show at Kettle’sYard, Cambridge, 11 January to 2 March 2003.

Chad McCail’s 4 digital prints from hisSnake series (coll. Wolverhampton ArtGallery), were loaned to Smart ProjectSpace, Amsterdam, 13 September to 22December 2002 and, Micro/Macro: BritishArt 1996-2002, Budapest, 21 March to 1 June, 2003.

Grayson Perry, Slave Ship, 1998 (coll. The Potteries, Stoke on Trent), was loanedto the artist’s first solo exhibition GuerrillaTactics, at the Stedelijk Museum,Amsterdam, 18 May to 25 Aug 2002,followed by the Barbican Art Centre,London, 21 Sept to 3 Nov 2002.

Birmingham’s purchase of Dark Star, 2001,by Fiona Rae was loaned to her soloexhibition at Carre D’Art Musee d’ArtContemporain, Nimes, 11 October to 5 January 2003.

Harbour, 1994-96.

As the end of the scheme approaches for all but one of the museums, thepressure is on to make final decisions onpurchases. More exciting commissioningprojects are currently underway. Researchvisits have been focused on purchasing,with the exception, of course, of a groupvisit to Documenta 11 and Manifesto 4 inGermany. The value of international visitshas been enormous in providing a globalcontext and harnessing curators’ambitions for their collections.

In the light of our new National CollectingScheme in Scotland, launched this spring,CAS and museums are discussing astrategy for the future of SCS. Now thefocus is to ensure we continue thisscheme beyond 2004, and furthermoremark and celebrate the enormousachievements of this unique scheme.

Mary DoyleCollections Curator

Ceri LewisAssistant Collections Curator

George ShawScenes from the Passion: The Fourth of November, 2002Purchased on behalf of Birmingham Museum & Art Gallery.Courtesy: Anthony Wilkinson Gallery, London. Photo: Peter White. ©The artist

Overleaf from left to right

Marcel WandersKnotted Chair, designed 1996, manufactured by Cappellini, 2002Purchased on behalf of Manchester Art Gallery.Photo: Manchester Art Gallery.©The artist

Niels van EijkBobbin-Lace Lamp, 2001Purchased on behalf of Manchester Art Gallery.©The artist

Norman CherryAsymmetry, 2002Purchased on behalf of Birmingham Museum & Art Gallery.©The artist

Michael RoweConditions for Ornament No 28, Lidded Container, 1996Purchased on behalf of Birmingham Museum & Art Gallery.©The artist

The John A. Walker archive collection ofvarious 1970s political paintings, prints, arttexts and posters, including work by Art &Language, Derek Boshier, John Latham,Lawrence Weiner and Peter Kennard, AndyWarhol and John A. Walker, has at his requestbeen gifted to Wolverhampton Art Gallery.This gift complements their existing collectionof contemporary works on political and socialthemes, purchased for the collection throughthe SCS scheme.

We were thrilled to receive a significant giftthis year under the auspices of the HenryMoore Foundation. Alison Wilding wascommissioned by our anonymous donor tomake a series of sculptures on the theme of “The Passion”. This was an extremelychallenging undertaking for the artist over aperiod of almost twelve years and resulted ineight remarkable monumental sculptures. Sofar, four museums have been delighted to beoffered the following works from the seriesContract (1989-2000):

Leeds City Art Gallery, Cold Face, 1997;Manchester Art Gallery, Red Skies, 1992;Whitworth Art Gallery, University ofManchester, Deep Water,1989; Tate, Assembly, 1991 and

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19_CASBirmingham Museum & Art GalleryFine artGeorge Shaw (b.1966)Scenes from the Passion: The Fourth ofNovember, 2002Humbrol enamel on board77 x 101

CraftNorman Cherry (b.1949)Fecundity, 2002Woven silver vessel with gold grains25 x 8 x 6 Asymmetry, 2002Woven silver vessel18 x 9.5 x 9

Ane Christensen (b.1972)Shredded bowl, 2002Mild steel sheet, laser-cut, welded andpowder coated14 x 40 x 30

David Clark (b.1967), Maike Dahl (b.1969),Hilde De Decker (b.1965), Andreas Fabian,Howard Fenn (b.1953), Felix Flury (b.1959),Simone ten Hompel (b.1960), Chris Knight(b.1969), Alistair McCallum (b.1953) andChristopher Zellweger (b.1962)A Field of Silver: Silver in a Field, 2002,

held at Bishopsland, Oxford s h i re, inSeptember 2002. Various works: silver, organic materials andfound objects Purchased from the project exhibition atGallery Flow, London, May 2002.

David Huycke (b.1967)Bolinder 1, 2000Copper, raised, the surface with overallpunched decoration, ed. 1/730 x 16 Multirond 7, 1999925 Silver, raised and planished, ed. 2/74.6 x 33.3

Alistair McCallum (b.1953)Tall Vase, 2002Mixed metals, worked in the mokume gane technique

Michael Rowe (b.1948)Conditions for Ornament No. 29Conical vase, 1997Brass, gold leaf finish43 x 26 x 26Conditions for Ornament No. 28Lidded container, 1996Brass, gold leaf finish36 x 21 x 21

Purchases for SpecialCollection Scheme

All measurements given incentimetres, height, width, depthunless otherwise stated.

Zoe WalkerSomewhere Special,1999-2001 (detail from installation)Purchased on behalf of Towner Art Gallery, Eastbourne.©The artist

21_CAS20_CASof Nottingham Castle Museum & Art GalleryIlfochrome transparency, lightbox71.5 x 87 x 12.5

CraftMaxine Bristow (b.1962)Doing without: Sustaining 7 Square metre s, 1999Textile (felted wool, tapestry wool, cotton,gesso) in three partsEach 163 x 124 x 8

South London GalleryFine artWilliam Furlong (b.1944)Come & See, 2002, Audio commission forSLG. 8 track hard disc programme for 8loudspeaker panelsDimensions variable

The New Art Gallery WalsallFine artMike Nelson (b.1967)Lionheart, 1997, installationMixed mediaDimensions variable

Towner Art Gallery, EastbourneFine artJoachim Koester (b.1964)Nordenskiold & The Ice Cap , 1999-2000

Mona-04, 2000, C-type print, 56 x 68Dara-01, 2000, C-type print, 56 x 68Mohammed-01, 1999, C-type print, 27 x 34Manzareh-50, 2000, C-type print, 27 x 34Dokhtar-04, 2000, C-type print, 27 x 34Tehran-08, 2000, C-type print, 34 x 43Tehran-01, 2000, C-type print, 65 x 86

Wolfgang Tillmans (b.1968)Sheet Two, 2001C-print, ed. 5/10 + 1 AP40 x 30Wohnung Köln, 1998C-print, ed. 6/10 + 1 AP30 x 40Still Life, Herald Street , 2000C-print, ed. 8/10 + 1 AP30 x 40Icestorm, 2001C-print, ed. 1/10 + 1 AP40 x 30Blautopf landscape, 2001C-print, ed. 6/10 + 1 AP30 x 40Window Box (37-36), 2000 C-print, ed. 3/10 + 1 AP30 x 40

Catherine Yass (b.1963)Lord Mayor, 2002, commissioned on behalf

Slide installation, 4 projectors, 2 CD players,105 slides, 2 CDs, ed. 3/5Dimensions variable, projection 2.4 x 3.6m

Zoe Walker (b.1968)Somewhere Special, 1999-2001Installation including mountain (denier nylon, guyropes, tent pegs, model-maker trees), Xpelairfan, TV monitor & wall mount, DVD (6 minutes,90 minute loop) and Lambda print on aluminiumMountain 550 x 340 x 249, Lambda print 50 x 76, installation dimensions variable

Wolverhampton Art GalleryFine artChad McCail (b.1961)Love is rooted in Sharing and TrustEverything is aliveCourage is stronger than fearNo-one really diesAll from the series Snake, 2001-2002 12 digital print on Fuji archival paper, ed. 1/3Each 188 x 127

Worcester City Art Gallery & MuseumFine artGerhard Stromberg (b.1952)Albertblock, 2001C-print, framed, ed. 1/5 plus 2 AP168 x 134

Free blown glass, partially mould blown tocreate a raised floral pattern, produced bySimon Moore at Dartington crystal, ed. of 630 x 20 Wednesday Light with resin drips , 2002Etched stainless steel, red resin28 x 20 x 20Wednesday Cabinet, 2001Wood framed cabinet, stamped (embossed)stainless steel, red resin160 x 60 x 20

Niels van Eijk (b.1970)Bobbin-Lace Lamp, 2001Fibre-optic cable82 x 45 (d)

David GrimshawDip Table, 2000Oak sawdust, powder coated mild steelframe, Scott Bayer resin3.5 x 10 x 10

El Ultimo GritoMiss Ramirez easy chair , 1997Pressure formed cork and latex with leathercovering and metal frame83 x 50 x 60Mind the Gap coffee table and magazine rack(prototype), 1998

Steel alloy frame with rubber top50 x 32.5 x 70

Robert Kilvington (b.1967)Flat Pack Chair (unfinished), 1999Unfinished oak, stainless steel pin80 x 45 x 60

Marcel Wanders (b.1963) Knotted Chair, designed 1996, manufacturedby Cappellini, 2002Carbon centred aramid fibre, epoxy resin73 x 53 x 64

Middlesbrough Art GalleryFine artEdward Pien (b.1958)Dance Macabre, 1999 Suite of 19 ink drawings framed in one setOverall dimensions: 100 x 154

Gavin Turk (b.1967)Skull (Portrait), 2002Recycled frame, acrylic on canvas andchinagraph pencil56 x 46

Nottingham Castle Museum & Art GalleryFine ArtShirana Shahbazi (b.1974)

Ferens Art GalleryFine artJananne Al-Ani (b.1966)Veil, 19975 slide phase projection installation, ed. 1/3Dimensions variable

Manchester Art GalleryFine artAlex Hartley (b.1963)Untitled Condemned (Rachel Point), 1998-2001Satin etched glass, black & white photographon MDF200 x 90 x 30

Tatsuo Miyajima (b.1957)Floating Time V2-C-12, 2002 CD-rom projection with computer andcustom-built tableDimensions variable

CraftJurgen Bey (b.1965) Lightshade-Shade, 1999Two way mirror foil, polyester, chandelierproduced by DMD60 x 60 x 100

Tord Boontje (b.1968)Wednesday Blossom Vase, 2002

23_CAS

Projects and Consultancy

22_CASBritish collection, funded by their sisterfoundation in London.

Development work for The Scottish ArtsCouncil encourages private and corporatecollecting in Scotland. We held an evening jointly with Arts & Business,Scotland, at Bonham’s and Standard Life. We also organised bus tours around galleries in Edinburgh and Glasgow forprivate collectors.

The three key Projects staff have now leftCAS and our thanks are due to all three fortheir contribution. We pay tribute to the workdone by Cat Newton-Groves over the last five years and she in turn would, we know,wish to express her appreciation of thesupport given by Sandra Mahon who hadspecial responsibility for Unilever, andMatthew Poole who curated the exhibitionprogramme at The Economist which hasbeen one of CAS’ most public successes,especially amongst younger artists.

CAS’ project and consultancy work continuesto develop in new directions with a team ofspecialist freelancers. We wish to express our gratitude to the clients and artists withwhom we have worked during the year.

Underpinning the work of Contemporary ArtSociety Projects are two key projects for The Economist and Unilever plc. These were overseen by Cat Newton-Groves,assisted by Matthew Poole and SandraMahon. Regular tours of Unilever’s collectioncontinued year round, and CAS wish toexpress thanks to their team of guides.

Cat Newton-Groves advised privatecollectors on their collections; representedCAS on the board of AXIS (the nationalartists’ database); and worked closely with Fresh Art to support recent graduates. She also managed our informal group,Contemporary Corporate Curators Circle(4Cs), informing and supporting in achallenging area of the visual arts, tomaintain high standards and integrity.

The Gulbenkian Foundation, London, invited CAS to manage a commission for itsnew Museum Prize, awarded in May 2003.Vladimir Bohm created a vessel that staysfor a year in each winning museum andtherefore was designed for variety ofsettings, both classical and contemporary.His enamelled silver bowl succeedsbeautifully. CAS also advises TheGulbenkian Foundation in Lisbon on its

Contemporary Art Society has a longhistory of organising trips and events for itsmembers dating back to almost the verybeginnings of CAS itself. Looking backt h rough the Annual Reports that now spanalmost a century, it is clear that, in terms ofour events and trips, the bar was raised byPauline Vogelpoel, who, by all accounts,skillfully fused a thirst for knowledge with ahigh sense of sociability and style. CASevents and trips continue to be org a n i s e ddrawing from her inspiration. Pauline diedin December 2002, and it is fitting that hereas well as in Gill’s Dire c t o r ’s Report thatshe is paid tribute.

F u n d a m e n t a l l y, CAS membership re m a i n san opportunity for individuals to supportliving artists and to aid re p resentation ofcontemporary art in public museums, soone needn’t be an active member tosupport the work of CAS. The primary aimsof our events and trips are to foster gre a t e rdepth and breadth of understanding ofcontemporary art and to encouragecollecting. It is re w a rding for Gill and I tosee eyes widened (our own as well) and ap l e a s u re to see friendships developt h rough CAS activities - which is awonderful coro l l a r y. The energ y, kindness,

ideas and support of our active membersa re unique and invaluable to CAS. Althoughit is not always possible to be an activem e m b e r, I hope more of our members willjoin us in future activities. We have alsorecently launched ‘blood’ - a membershipinitiative with a programme of events forthose that are new to collectingcontemporary art, co-ordinated entire l yt h rough email. We rely on your ability toencourage your friends and acquaintancesto join us - our monthly London bus tours(CASt) to off-the-beaten track exhibitions,studios and galleries, are an excellentstarting point.

April 2002

A RTf u t u re s was held at the City of LondonSchool directly across the Thames fro mTate Modern, and was thus fittingly openedby Sir Nicholas Serota. The Private Vi e w, ase v e r, was the focus of busy buying andexcitement, and over the course of theselling exhibition lasting 5 days, over 240works were sold.

CAS hosted a lecture given by PhilipRylands, Director of the Guggenheim

Members’ Events

“battleship” next to the We s t w a y. The curators toured us around thisyoung, ambitious collection of work thattends to re f e rence colour, imagination,movement and travel, including the work of Vik Muniz, Adriana Va rejao andGabriel Oro z c o .

M a rch 2003

CAS members were invited to a privateviewing with celebrated British artistR i c h a rd Wilson to see his commission atThe Wapping Project, B u t t e r f l y. Over theduration of the exhibition Wilson was inthe process of attempting to recover theoriginal form of the large metal object heinitially scrapped. Wilson explained hisp roject and showed us a diary of thep rocess in slides. We then enjoyeddinner with our guests of honour Wilsonand his partner, performance artist Silvia Ziranek, in the restaurant pre s i d e dover by the Director of The Wa p p i n gP roject, Jules Wright.

Wynne Wa r i n gEvents and Membership Manager

Jewish Museum of Art, to see the first soloexhibition of Mark Gertler’s work in over adecade (whose work was among the firstp u rchases made by the CAS). SarahMacDougall, co-curator of the exhibitionand author of a new biography on theartist, led us through each work in theexhibition lending valuable insight into hiswork and life.

December 2002

Our visit to the Chelsea home of two long-standing CAS members to see their privatecollection and enjoy Christmas drinks wasa success. Their collection of modern andcontemporary painting including work by Ernst Ludwig Kirc h n e r, Henri Matisseand Basil Beattie, was investigated anda d m i red whilst enjoying the hospitality ofour kind hosts.

January 2003

In January CAS was invited to visit The Monsoon Collection, housed in thefashion re t a i l e r ’s headquarters in thisformer British Rail building known as the

25_CASartists at Manifesta 4, was formidable. We also visited public museums andgalleries in Frankfurt as well as MARTaH e r f o rd, a Gehry-designed museum stillunder construction.

Our day-trip to Paris via the Eurostar wasalso in June, where Eric Mézan, Parisiancultural expert, showed us the best of what’snew on the Paris art scene. We explored the Palais de Tokyo, participated in ErwinWu r m ’s one-minute sculptures at the C e n t re National de la Photographie andmuch more.

September 2002

Unilever generously hosted our AGM at their headquarters in Blackfriars this year.After the meeting, members were guidedt h roughout the building to see Unilever’scollection of contemporary British art thathas developed over 20 years with the adviceof CAS, resulting in an exuberant collectionof over 500 works.

We visited Bloomberg SPACE, a re c e n t l yopened gallery within the Bloombergheadquarters in Finsbury Square.

Museum in Venice, to our members at the Royal Institution. Rylands provided anintimate portrait of Peggy Guggenheim as a collector. It was a glamorous evening as well as being a fundraising success -facilitated by the support of The Fine Family Foundation.

May 2002

We visited the Tate Archives in May held atthe newly opened Hyman Kreitman Researc hC e n t re at Tate Britain. Adrian Glew, Ta t eA rchive Curator, and Erica Foder- L a n a h a n ,Head of Reader Services, guided us thro u g hthis impressive facility that houses over amillion archival items, and selected for usthe most poignant items from the CASa rchives (housed here).

June 2002

This year’s international trip was to Germany to visit Documenta 11 held inKassel (every 5 years) and Manifesta 4 (aE u ropean biennial) held in Frankfurt in 2002.The sheer volume of work we saw, work by116 artists at Documenta, plus work by 72

We met one of the space’s curators, David Risley, and were shown the art anddesign commissions in the Foster-designed building.

October 2002

Our weekend in Yorkshire and Newcastlestarted at Yorkshire Sculpture Park, followedby a short visit to the races (ostensibly to seecontemporary art near the track) and to aprivate collection of contemporary art housedin a converted church. We had DurhamCathedral to ourselves to see the work ofTony Sinden, followed by dinner with CanonBill Hall, and artists Tony Sinden, Lulu Quinn,Jim Harold and Susan Brind. We crossed theTyne on the award-winning Millennium Bridgeto visit the newly opened Baltic Art Centre inGateshead and met artists-in-residence ChadMcCail and Alec Finlay. Finally we visitedAntony Gormley’s Angel of the North andTony Cragg’s Terra Novalis, all in gloriouscrisp autumn sunshine.

November 2002

We visited the Ben Uri Gallery, the London

24_CAS

Fine ArtAberdeen Art GalleryBedford Cecil Higgins Art Gallery Belfast Ulster MuseumBirmingham Museum & Art GalleryBlackpool Grundy Art Gallery Bolton Museum & Art GalleryBradford Cartwright Hall Bristol City Museum & Art GalleryCardiff National Museum & GalleryCoventry Herbert Art Gallery & MuseumCoventry Mead Gallery, University of Warwick Doncaster Museum & Art GalleryDundee McManus Galleries*Eastbourne Towner Art Gallery Edinburgh City Art Centre*Edinburgh Scottish National Gallery ofModern Art Glasgow Art Gallery & MuseumGlasgow Hunterian Art Gallery Harrogate Mercer Art Gallery Hatfield Margaret Harvey Gallery, University of HertfordshireHuddersfield Art GalleryHull Ferens Art Gallery Ipswich Christchurch MansionLeamington Spa Art Gallery & MuseumLeeds City Art GalleryLeicester New Walk Museum & Art Gallery

Lincoln Usher GalleryLiverpool University of Liverpool Art CollectionLiverpool Walker Art GalleryLondon South London GalleryLondon TateManchester Art GalleryManchester The Whitworth Art Gallery,University of ManchesterMiddlesbrough Art GalleryNewcastle Upon Tyne Laing Art GalleryNewport Museum & Art GalleryNorwich Castle Museum Nottingham Castle Museum & Art Gallery Oldham Gallery OldhamOrkney Pier Arts Centre*Oxford Ashmolean Museum of Art & ArchaeologyPaisley Museum & Art Gallery*Plymouth City Museum & Art GalleryPreston Harris Museum & Art GalleryRochdale Art GalleryRugby Art Gallery & MuseumSalisbury John Creasey Collection ofContemporary Art Sheffield Graves Art Gallery Southampton City Art GalleryStoke on Trent The Potteries Museum & Art Gallery

26_CAS

Member Museums

*Joined 2002 with funds from The Esmée Fairbairn Foundation

29_CASCraftAberdeen Art GalleryBedford Cecil Higgins Art Gallery Belfast Ulster Museum, Birkenhead Williamson Art Gallery & Museum Birmingham Museum & Art GalleryBolton Museum & Art GalleryBradford Cartwright HallBristol City Museum & Art GalleryCardiff National Museum & Art GalleryCheltenham Art Gallery & MuseumCoventry Herbert Art Gallery & Museum Dudley Broadfield House Glass MuseumDundee McManus Galleries Gateshead Shipley Art Gallery Glasgow Art Gallery & MuseumHalifax Bankfield MuseumHove Museum & Art GalleryHuddersfield Art GalleryLeicester New Walk Museum & Art Gallery

Lincoln Usher GalleryLiverpool Walker Art Gallery Manchester Art GalleryMiddlesbrough Cleveland Crafts CentreNewport Museum & Art GalleryNottingham Castle Museum & Art Gallery Oldham Art GalleryPaisley Museum & Art GalleryPlymouth City Museum & Art GalleryPortsmouth City Museum & Records ServicePreston Harris Museum & Art GallerySheffield Graves Art GallerySouthampton City Art GallerySouthport Atkinson Art GalleryStoke on Trent The Potteries Museum & Art GallerySwansea Glynn Vivian Art Gallery Swindon Museum & Art GalleryWakefield Art GalleryYork City Art Gallery

Previous page

Alison WildingHarbour, 1994-1996, from the series Contract, 1989-2000Gift of an anonymous donor, presented by the Contemporary ArtSociety and the Henry Moore Foundation to Tate, 2003. Photo: Roderick Coyne. ©The artist

Left

Wolfgang Tillmans Blautopf landscape, 2001Purchased on behalf of Nottingham Castle Museum & Art GalleryCourtesy Maureen Palley Interim Art, London©The artist

Fine Art continuedSunderland Museum & Art GallerySwansea Glynn Vivian Art Gallery Swindon Museum & Art GalleryWakefield Art GalleryWalsall The New Art Gallery WalsallWolverhampton Art GalleryWorcester City Art Gallery & MuseumYork City Art Gallery

31_CAS30_CASFixed assets

C u r rent assets

C reditors : amounts falling due within one year

Net current assets

Net assets

R e p resented by:

Restricted income funds

U n restricted funds

Total funds

5 8 , 3 0 3

—————

1 , 0 2 6 , 6 0 0

( 1 2 7 , 5 6 1)

—————

8 9 9 , 0 3 9

—————

£ 9 5 7 , 3 4 2

— — — — —

2 9 5 , 8 2 8

6 6 1 , 5 1 4

— — — — —

£ 9 5 7 , 3 4 2

— — — — —

3 1 . 0 3 . 2 0 0 2£

3 1 . 0 3 . 2 0 0 3£

6 4 , 5 8 7

—————

1 , 0 2 0 , 6 6 8

( 1 1 6 , 6 7 8 )

—————

9 0 3 , 9 9 0

—————

£ 9 6 8 , 5 7 7

— — — — —

3 8 7 , 2 2 5

5 8 1 , 3 5 2

— — — — —

£ 9 6 8 , 5 7 7

— — — — —

Contemporary ArtSociety Group

ConsolidatedStatement of FinancialActivities

(Incorporating a consolidated incomeand expenditure account).For the year ended 31 March 2003.

The figures all relate to continuingoperations and include allrecognised surpluses and deficits.

7 6 , 5 4 65 5 , 0 0 0

2 5 1 , 3 0 1---

2 3 , 4 4 84 , 3 7 9

1 3 , 0 4 4— — — — —

4 2 3 , 7 1 8— — — — —

2 2 , 3 2 6— — — — —

4 0 1 , 3 9 2— — — — —

4 0 4 , 1 3 1-

3 6 , 5 9 44 1 , 2 8 2

— — — — —4 8 2 , 0 0 7

— — — — —5 0 4 , 3 3 3

— — — — —( 8 0 , 6 1 5 )

4 5 3— — — — —

( 8 0 , 1 6 2 )6 6 1 , 5 1 4

— — — — —£581,352 — — — — —

U n restricted Funds£

Restricted Funds£

Total 31.03.03 £

Revised 31.03.02 £

3 4 , 2 6 3-

-1 2 9 , 0 6 91 3 8 , 0 0 01 1 8 , 6 6 3

--

-— — — — —

4 1 9 , 9 9 5— — — — —

1 , 9 7 0— — — — —

418,025 — — — — —

6 1 , 8 6 62 6 4 , 7 6 2

--

— — — — —3 2 6 , 6 2 8

— — — — —3 2 8 , 5 9 8

— — — — —9 1 , 3 9 7

-— — — — —

91,397 2 9 5 , 8 2 8

— — — — —£ 3 8 7 , 2 2 5— — — — —

1 1 0 , 8 0 95 5 , 0 0 0

251,301 1 2 9 , 0 6 91 3 8 , 0 0 01 1 8 , 6 6 3

23,448 4,379

13,044 — — — — —

8 4 3 , 7 1 3— — — — —

2 4 , 2 9 6— — — — —

819,417 — — — — —

4 6 5 , 9 9 7264,762 3 6 , 5 9 44 1 , 2 8 2

— — — — —8 0 8 , 6 3 5

— — — — —8 3 2 , 9 3 1

— — — — —1 0 , 7 8 2

4 5 3— — — — —

1 1 , 2 3 59 5 7 , 3 4 2

— — — — —£ 9 6 8 , 5 7 7— — — — —

1 1 9 , 4 7 94 5 , 0 0 0

1 1 7 , 6 7 43 9 8 , 2 0 81 6 3 , 7 5 0

4 4 , 0 0 01 2 , 9 0 91 2 , 9 8 0

1 3 , 9 2 6— — — — —

9 2 7 , 9 2 6— — — — —

1 5 , 9 3 1— — — — —

9 1 1 , 9 9 5— — — — —

2 6 6 , 4 3 55 5 3 , 2 4 2

2 3 , 3 8 92 3 , 7 1 5

— — — — —8 6 6 , 7 8 1

— — — — —8 8 2 , 7 1 2

— — — — —4 5 , 2 1 4

( 6 8 7 )— — — — —

4 4 , 5 2 79 1 2 , 8 1 5

— — — — —£ 9 5 7 , 3 4 2— — — — —

Incoming Resources

Voluntary Income:Subscriptions & donationsArts Council Award

Activities in furtherance of the Charity objectives:Fees & CommissionsArts Council Lottery fundingLottery scheme contributionsOther grantsTicket sales for events for membersOther income

Investment Income:Interest and dividends

Total incoming resources

Resources Expended

Cost of generating funds:Fundraising costs

Net incoming resources available for charity

Costs of activities in furtherance of charitable objectives:Advice, training and collection supportArt purchasesMembers’ events and support activitiesManagement and administration

Total resources expended

Net incoming re s o u rces/(outgoings) re s o u rc e s

Other recognised gains and losses:Revaluation of investments

Net movement in fundsFund balances brought forward

Fund balances carried forward

SummarisedConsolidated Balance Sheet

Contemporary Art Society Group as at 31.03.03

The summary financialinformation set out on pages 30 and 31 is extracted from thefull accounts of the Societywhich were approved by theTrustees on 10 July 2003. Full audited accounts, with theTrustees’ and auditors’ reportsgiving an unqualified opinioncan be obtained from theContemporary Art Society,Bloomsbury House74-77 Great Russell StreetLondon WC1B 3DA

Oliver Prenn Chairman, 25 July 2003

Independent Auditors’ Statement to the Trustees ofContemporary Art Society Group

We have examined the summarised financial statements of Contemporary Art Society.

Respective responsibilities of trustees and auditorsThe trustees are responsible for preparing the summarisedfinancial statements in accordance with therecommendations of the charities SORP. Our responsibilityis to report to you our opinion on the consistency of thesummarised financial statements with the full financialstatements and Trustees’ Annual Report. We also read the other information contained in the summarised annualreport and consider the implications for our report if webecome aware of any apparent misstatements or materialinconsistencies with the summarised financial statements.

Basis of opinionWe conducted our work in accordance with Bulletin 1999/6 ‘The auditors’ statement on the summary financialstatement’ issued by the Auditing Practices Board for use in the United Kingdom.

OpinionIn our opinion the summarised financial statements areconsistent with the full financial statements and theTrustees’ Annual Report of Contemporary Art Society for the year ended 31 March 2003.

Mazars Chartered Accountants and Registered Auditor24 Bevis Marks, London, EC3A 7NRDated: 6th August 2003

32_CAS

The Arts Council England for their continued fixedterm funding, which provides CAS with the vitalsupport needed to develop our work with museums.

The Henry Moore Foundation for their genero u scontribution towards annual purchases ofs c u l p t u re and video for the Distribution Scheme.

The Arts Council England Lottery Fund forestablishing the Special Collection Scheme, a unique national project enabling fifteen museums and galleries in England to develop challengingcollections of contemporary art and craft.

The Crafts Council for partnership funding to the four museums developing craft collections in the Special Collection Scheme.

The Trustees of The Trusthouse CharitableFoundation for their support of Catching Comets.

The Scottish Arts Council for their support in thedevelopment of a new collecting initiative on behalf of museums, companies and individuals in Scotland.

The Scottish Arts Council Lottery Fund for establishingthe National Collecting Scheme for Scotland inpartnership with six museums to develop challengingcollections of contemporary art and craft.

The Esmée Fairbairn Foundation for their generosity in enabling three Scottish museums to rejoin CAS and their overall support for our work.

The Fine Family Foundation for their support of ourannual lecture and Catching Comets.

and the generosity of a private donor who wishes toremain anonymous but who, through The Henry MooreFoundation, has given 8 monumental sculptures byAlison Wilding to CAS member museums.

Acknowledgement to funders

CAS offers sincere thanks to allindividuals and organisations who havehelped us to extend our work, and inparticular the following.

Giant Arc Design / studio@giantarc.co.uk

Bloomsbury House, 74-77 Great Russell Street, London WC1B 3DA T. 020 7612 0730 F. 020 7631 4230 cas@contempart.org.uk www.contempart.org.uk

We promote the collecting ofcontemporary art through our giftsto public museums and the adviceand guidance we offer companiesand individuals Contemporary ArtSociety_Annual Report 2002/2003

We promote the collecting ofcontemporary art through our giftsto public museums and the adviceand guidance we offer companiesand individuals Contemporary ArtSociety_Annual Report 2002/2003