The Upper Room (paintings)

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For other meanings of the phrase, see The Upper Room.

The Upper Room by Chris Ofili

The Upper Room is an installation of 13 paintings of rhesus macaque monkeys by English artist Chris Ofili in a specially-designed room. It was bought by the Tate Gallery in 2005 and caused controversy as Ofili was on the board of Tate trustees at the time of the purchase. In 2006 the Charity Commission censured the Tate for the purchase, but did not revoke it.

1 The work
2 Background
3 Controversy
4 See also
5 References
6 External links

[edit] The work

A large walnut-panelled room designed by architect David Adjaye holds the paintings. The room is approached through a dimly-lit corrridor, which gives 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.

Mono Turquesa by Chris Ofili, 1992-2002. One of thirteen paintings in The Upper Room.

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 Andy Warhol drawing. The larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room, creating an impressive, contemplative atmosphere.

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, comprised of paint, resin, glitter, mapping pins and elephant dung. The Upper Room as a whole is described by the Tate as an "installation".

The Upper Room 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.

[edit] Background

The work was first exhibited at the Victoria Miro Gallery in a solo show Freedom One Day in 2002, when it generally received very favourable reviews, especially from Adrian Searle, art critic of The Guardian, 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."

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 BP-sponsored rehang of Tate Britain. Again reviews were mostly favourable.

[edit] Controversy

The Hypocrisy of Myners, a painting by Mark D. (Paul Myners is the Tate Chairman.)

On August 14, 2005 The Sunday Telegraph 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 (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.^[1] The story was in response to a campaign by members of the Stuckist group of artists, who have been frequently critical of the Tate's Director, Sir Nicholas Serota.^[2]

Stuckist co-founder Charles Thomson had applied to the Tate under the UK Freedom of Information Act 2000, 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 to The Upper Room when an un-named American collector was going to enter into a joint purchase with the museum. When this fell through, Ofili's dealer Victoria Miro then organised a consortium of five benefactors to donate half the purchase price, whilst also buying their own Ofili work privately.

There followed a series of articles in The Sunday Telegraph, as well as other newspapers, over the following few months, detailing more aspects of the purchase. One of these was that Serota admitted falsely filling in an application form to the Art Fund (NACF) in order to obtain 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 David Verey was until 2004 Chairman of the Tate Trustees. The NACF allowed the Tate to keep the grant.^[3]

Serota wrote to the Department of Culture, Media and Sport (DCMS), assuring them that this purchase of a serving trustee's work was "exceptional" and had happened on only one other occasion. The Tate then admitted it had acquired work by six serving artist trustees. The Art Newspaper actually showed that work had been acquired by every serving artist trustee during Serota's directorship, in one case over 50 works by a serving trustee. 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 reputation."^[4]

Christopher McCall QC wrote to The Times alleging that the purchase of a trustee's work in these circumstances was a breach of the Charity laws.^[5]

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 lighting level and that the work might have to be removed from display.^[6]It was out of commission for a short time, due to the lights not working properly.

Outside the Turner Prize, Tate Britain, 2005: Stuckists demonstrate against the purchase of Chris Ofili's The Upper Room. The cutout is Tate Chairman Paul Myners.

The Stuckists demonstrated outside the Turner Prize on December 6, 2005 against the purchase of The Upper Room 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.^[2] That evening in front of guests at the award ceremony in what has been described as a "moment of rare passion" and an "unusual, possibly unprecedented" move, he spoke out with "an angry defence" of the purchase,^[7] 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."^[8]

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.

The total sale price of The Upper Room was £705,000.

Chris Ofili's term of office as a trustee expired in November 2005. He was replaced by Anish Kapoor.

In July 2006 the Charity Commission completed an investigation into The Tate's purchase of Ofili and other trustees' work, censuring the gallery for acting outside its legal powers.^[9]