- cares for, stores and records the collection to ensure that it is available for future generations to enjoy
- manages the collection’s movement and use, finding ways to protect works of art from deterioration while making them accessible to the viewing public.
- supports and delivers Tate’s programmes of exhibitions, displays, loans and publications
- builds the Library and Archive collections
- provides public access and visitor services to the collection, Library and Archive.
It comprises the Collection Management, Art Handling and Storage, Conservation and Library and Archive departments.
Director, Collection Care
Responsible for ensuring that the potential of Tate’s collection is maximised, through collection care, research and access. This entails delivering the programme on time and on budget, and preserving the collection in the best possible condition so that it remains accessible for present and future generations of visitors.
- Director, Collection Care since December 2008
- 2006–2008: Head of Library and Archive, Tate
- 2000–2006: Information Services Manager, London School of Economics Library
- 1995–2000: Chief Librarian, Trinity College of Music
Kate Sloss qualified as a librarian in 1987 and worked for the Inner London Education Authority in a number of sixth-form and further education colleges, before moving to the higher education sector in 1995. She has a BA (Hons) degree in Experimental Psychology from Oxford University.
Conservation of Tates collection is an extraordinarily broad responsibility: it ranges from 1500 to the present day and includes a challenging spectrum of materials to preserve, restore and display. Conservators at Tate specialise in the following areas:
The number of conservation staff has grown in line with Tates expansion to nearly 60 people, including conservators, technicians, scientists and administrators working on a full-time or part-time basis. The department takes on interns working towards completing their formal training and also employs researchers on short-term contracts funded by outside grants, particularly in the area of conservation science. It can take up to seven years to train as a conservator. Due in part to the need to understand a variety of different materials from paint to plastics, the field attracts people from many different backgrounds.
1950s:Conservation Department established in 1955, with one restorer and two technicians.
1960s: Department gains more restorers and studio space. Photography Department established, initially to provide a specialist service for conservation.
1970s: With the continued expansion of Tate more posts were established, including the first paper conservators. Tate was instrumental in establishing acentral institute for conservation training, based at the Courtauld Institute of Art and jointly run. Restorers were renamed as conservators.
1980s: Dedicated sculpture, frames, conservation and conservation science sections established. Paper conservation expands and gets a new home in Tate Britains new Clore Gallery to house 20,000 works on paper by J.M.W. Turner.
1990s and 2000s: Some technicians relocated to Tate Stores in South London. Additional conservators appointed in the early 1990s with specific responsibility for the new Tate Liverpool and Tate St Ives sites. New conservators provided for Tate Modern, which opened in May 2000, and for time-based media.