Roland Rudd, the chair of Tate, is in a bullish mood when we meet at his offices in the Adelphi Building, which sits on the Thames between the art institution’s two London sites. “Things have never been better,” he says.
It’s a rebuff to any suggestion that the organisation is in flux – and, as if he were expecting the question to arise, Rudd produces a piece of paper from his suit pocket with notes to prove his point. The recent wins, he says, are so numerous that he has written them down so as not to forget any.
