Tate Management Agreement


Public funds are received by the Department of Digital, Culture, Media and Sport (DCMS) and the requirements are set out in Tate`s management agreement with the department. What is the role of archives and record management in challenging museum practices? Considering the challenges of collection management, which illustrates this combination of material materials and immaterial experiences, Embassy poses a fundamental question. What is the core of the artwork – the tangible materials that create the physical environment, the immaterial experiences, and the political-activist activities that take place in space? There is no doubt that arguments can be put forward to express support for both interpretations. However, there is not necessarily a categorical answer. Ultimately, discussions about the status of materials, the need to integrate them into the representation of work, and their relationship to immaterial experience can have a practical influence on the means used to maintain, lend, and perform work. The functionality of TMS allows great flexibility in the type and depth in which components can be documented. However, perhaps the most important element from a collection management perspective is TMS`s ability to maintain accurate and uninterrupted localization documentation of all components. Tate`s registration teams are the only parties authorized to update art sites on TMS, a practice that is directly consistent with Tate`s directive that all collections and deliveries of artworks (including all items thereof) are coordinated by a member of the Registrar Division, from or between Tate sites. In order to continue to ensure the accuracy of component documentation, Tate`s registrar teams are again the only parties responsible for creating and editing related fields on TMS (with the exception of time-based media graphics components, as explained later). Tate`s registrars are working on accepted structural work practices in how components should be numbered, formatted and categorized to reduce the risk of undactical and inconsistent documentation. This centralized process, in turn, ensures that Tate, for audit purposes, has a clearly documented understanding of all the elements of the artwork – knowing what they are, where they are, and when. This is a key mechanism for pursuing accurate and detailed display histories for each work in the collection, allowing Tate to fulfill its legal obligations. 5.1 Unless otherwise stated, the copyright and all other rights in all publications and materials made available to you by Tate are owned by Tate.

Members may not reproduce, transfer, distribute, sell or market such materials without the prior written consent of Tate or to the extent expressly permitted by law. Despite this clear disposition of the artist, loan agreements with the Yerba Buena Center for the Arts, San Francisco, established that the borrower could not meet the specific conditions of the performance. However, due to the artist`s support for the exhibition, Tate obtained express permission from the artist to lend exclusively documentary material on this occasion and therefore lent a film of the performance of the work to the Tate Modern, London, from 26 to 27 January 2008, as well as an edited version of the sales contract and the specifications of the performance…