DOCSLIB.ORG

Artists Teacher Scheme the New Art Gallery Walsall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artists Teacher Scheme the New Art Gallery Walsall Artists Teacher Scheme The New Art Gallery Walsall 2010 — 2011 The national programme of continuing professional development courses for artist teachers. - Birmingham School of Art - Birmingham Institute of Art & Design, Birmingham City University - The New Art Gallery Walsall - Ikon Gallery Managed by the National Society for Education in Art and Design (NSEAD) Financially supported by Arts Council England, The Arts Council of Wales and the Scottish Arts Council What is the Artist Teacher Scheme? The Artist Teacher Scheme offers artist teachers opportunities to re-appraise, reinforce, re-engage and research thinking and professional development as artists. It does this by extending awareness of the richness and complexity of contemporary fine art and by looking at the diversity of influences which inform practice. High levels of reflexivity are demanded of participants. The course is designed to lead onto the MA Art Practice and Education. Benefits of the Scheme Provisions of the Scheme • Renewing and increasing • Seminar facilities confidence in contemporary • Informed and supportive access thinking and practice as an artist to contemporary art practice • Generating new ideas • Tuition, critique and support • Encouraging self and peer learning from academic staff and • Increasing satisfaction by re- visiting artist lectures charging creative practice • Structured as well as informal resulting in more effective discussion and debate work in your personal studio • Peer led support networks work and in art education • An opportunity to • Developing a professional network show new work of artists, gallery and museum • Pathways to MA professionals and academic qualifications and further staff in higher education research opportunities Who can apply? • Teachers of art and design, with a graduate qualification in art and design, who currently work in primary, secondary, further or higher education. • Artist educators, with a graduate qualification in art and design who work in schools, museum and gallery education or other institutions where art and education are central to practice. It is not essential for teachers applying for the course to have maintained their individual art practice. What is the Artist Teacher Scheme? Stage 1 Summer School & Stage 2 Saturday Schools The Artist Teacher Scheme offers artist teachers opportunities to re-appraise, Stages 1 & 2 are designed as one course but can be attended separately. reinforce, re-engage and research thinking and professional development as artists. It does this by extending awareness of the richness and complexity • Stage 1 will enable students to establish a basis for continuing of contemporary fine art and by looking at the diversity of influences which practice in a five day intensive programme. inform practice. High levels of reflexivity are demanded of participants. • Stage 2 will provide ongoing support through workshops, lectures and seminars approximately one Saturday per month over one academic year. The course is designed to lead onto the MA Art Practice and Education. Stage 1: Entry level Stage 2: Saturday Schools Summer School 26-30 July 2010 September 2010 - July 2011 Course Number Course Number fee: £300 of places: 15 fee: £200 of places: 15 • Two day ‘drawing in space’ Eight full-day Saturday workshops project/workshop will focus on supporting • Seminars exploring different aspects participants in their individual of contemporary art such as post- practice. They are led by senior and modernism, critical theory, cross- visiting lecturers from the School cultural influences, the politics of of Art, Birmingham Institute of gender and sexuality and the impact Art and Design together with The of new technologies on art practice New Art Gallery Walsall and Ikon. • Guided tours of The New Art Gallery Walsall and the Ikon Gallery The sessions include: including the latest exhibitions • opportunities to develop Alongside input from Gallery Educators, practical skills Who can apply? academic and practice staff from the School • discussion, guidance and of Art includes Françoise Dupré, Mona critiques of individuals' practice Casey and David Cheeseman in addition • a guided visits to a • Teachers of art and design, with a graduate qualification in art and design, to the current Wheatley Research Fellow. regional galleries who currently work in primary, secondary, further or higher education. • Artist educators, with a graduate qualification in art and design Stage 1 can be undertaken as a self Stage 2 culminates in an exhibition who work in schools, museum and gallery education or other contained period of study with recognition of work at The New Art Gallery institutions where art and education are central to practice. by Birmingham City University or it can Walsall, open to the public. form the introductory component of a It is not essential for teachers applying for the course to course that will extend over a further eight have maintained their individual art practice. sessions to be accredited by the university. Location To book The course is based at the School For further information about the course of Art, Birmingham Institute of Art and to book a place please contact: and Design (BIAD) at the Margaret [email protected] or Street site. Maps are available [email protected] on the website www.biadart. com or www.biad.bcu.ac.uk MA Art Practice and Education Taken together the two stages of the Course members will have access ATS can form an introduction to study to studio space set aside for the on the MA Art Practice and Education course event days in the School of with credit towards the Certificate Art. The New Art Gallery Walsall and Stage of the MA (15 credits). Ikon are other course venues with access to contemporary exhibitions Two years part time Post Graduate Study and education facilities. The School MA Art Practice and Education of Art is close to the Ikon Gallery in consists of three stages: PG Certificate, central Birmingham, with The New PG Diploma, Master’s degree. Art Gallery Walsall easily accessible by rail link from New Street Station. Each stage is made up of modules totalling 60 credits. Students are The New Art Gallery Walsall, the assessed at the end of each of these School of Art and the Ikon Gallery are stages. Throughout the three stages fully accessible to wheelchair users. you will be supported by seminars/ lecturers from invited professional artists thenewartgallerywalsall.org.uk and contemporary cultural theorists, by ikon-gallery.co.uk personal and group tutorials with Fine Art lecturers and by specialist seminar modules in contemporary and historical theoretical concerns of art education. Cost For further information about all £300 Stage 1: Five day session art based MA programmes visit www.biadart.com or contact: £200 Stage 2: Eight weekend days [email protected] Art Based Masters Programme Coordinator 0121 331 5970 (messages) £500 Complete course: Stage 1 & 2.
Load more

Recommended publications
  • THE SCIENCE and ART DEPARTMENT 1853-1900 Thesis
    THE SCIENCEAND ART DEPARTMENT 1853-1900 Harry Butterworth Thesis submitted for the degree of Ph. D. Department of Education University of Sheffield Submitted July 1968 VOLUMELWO Part Two - Institutions and Instruments PART TWO INSTITUTIONS AND INSTRUMENTS CHAPTER SIX The development of facilities for the teaching of Science CHAPTER SEVEN The South Kensington Science complex CHAPTER EIGHT The development of facilities for the teaching of Art CHAPTER NINE The South Kensington Art complex CHAPTER TEN The Inspectors CHAPTER ELEVEN The Teachers CHAPTER TWELVE Students, Scholarships and Text-books. CHAPTER SIX THE DEVELOPMENT OF FACILITIES FOR THE TEACHING OF SCIENCE a) Schemes before 1859 i) The basic difficulties ii) A separate organizational scheme iii) A meagre response b) Provincial institutions in the early days i) Trade Schools ii) Mining Schools iii) Navigation Schools iv) Science Schools v) The arrangements for aid c) The Science subjects : general development i) Major divisions ii) A "newt' subject: Physiography iiz. 3 yS iii) Other "new" subjects: Agriculture and Hygiene iv) Relative importance of the "divisional' d) The machinery of payments on results in Science i) The general principles ii) Specific applications iii) The Departmental defence e) The organisation of the system of examining f) Abuses of the examinations system i) The question of "cram"" ii) The question of "security" g) The Science Subjects : "Pure" or "Applied"" ? i) Basic premises ii) Reasons for reluctance to aid "trade teaching" iii) criticisms of the "pure"
    [Show full text]
  • Strategic Anomalies: Art & Language in the Art School 1969-1979
    Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ the Art School 1969-1979 ​ ​ ​ ​ ​ ​ Mark Dennis ​ ​ A thesis submitted in partial fulfilment of the University’s ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ requirements for the Degree of Master of Philosophy/Master of ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Research September 2016 ​ ​ Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co.
    [Show full text]
  • As I Walked Down New Grub Street
    As... I Walked ,Down New Grub Street , ; ; -i Memories of a Writing Life WALTER ALLEN The University of Chicago Press ;:::1 The University of~hicago Press to'Peggy Chicago, 60637 William Heinemann Ltd, London W1X 9P A © 1981 by Walter Allen All rights reserved Published 1981 Published with financial assistance from the Arts Council of Great Britain ISBN 0--226-01433--9 Library of Congress Catalog Card No: 81--69852 PR ('.POO I ' ""1 "') ,. I '-,I (" I ;;;_ <"f !{-Vi f Printed in Great Britain the scholarship, rhymed roughly with 'bally fool'. In those days, there 'Sir', which I feared was sardonic. I felt he had sized me up. I was was only one scholarship in English at Oxford. The set books were six getting hungry again but I was too shy or gauche to ask him when Shakespeare plays, Milton's English poetry, six of johnson's Lives and dinner was served or where. Culture and Anar~hy. The plays and the Lives were not entirely new to The evening d'ragged on, the room never became warm, the me, but most of the Milton was. Since no one from the staff could be grarriophones mocked. I was very hungry but dared not go to a spared from his other teaching to coach me, I had to master them restaurant again, for my tea had proved more expensive than I'd myself as best I could. I could only have been miserably unprepared, 'expected. I wrote two falsely cheerfnlletters: I felt as a child must feel though I was confident as I have never been since.
    [Show full text]
  • The Stourbridge School of Art and Its Relations with the Glass Industry of the Stourbridge District, 1850-1905
    A PROVINCIAL SCHOOL OF ART AND LOCAL INDUSTRY: THE STOURBRIDGE SCHOOL OF ART AND ITS RELATIONS WITH THE GLASS INDUSTRY OF THE STOURBRIDGE DISTRICT, 1850-1905 by JAMES SCOTT MEASELL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History College of Arts and Law University of Birmingham April 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes.
    [Show full text]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh
    This is a repository copy of The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/91217/ Version: Accepted Version Article: Lawrence, R. The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. Construction History, International Journal of the Construction History Society, 29 (1). 99 - 127. ISSN 0267-7768 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh Ranald Lawrence University of Cambridge Abstract This paper discusses the Glasgow School of Art in the context of the wider history of the Victorian art school as a distinctive building type.
    [Show full text]
  • Exhibitions / Events March – May 2020 Ikon-Gallery.Org Free Entry Yhonnie Scarce
    Exhibitions / Events March – May 2020 ikon-gallery.org Free entry Yhonnie Scarce Exhibition 9 April – 31 May 2020 Tower Room, Second Floor Please note the Tower Room is only accessible via a number of steps Yhonnie Scarce was born in Woomera, South Australia, and belongs to the Kokatha and Nukunu peoples. Working with glass, Scarce explores the political nature and aesthetic qualities of the material – in particular corresponding to the crystallisation of desert sand as a result of British nuclear tests on her homeland during 1956–63. For Ikon, she undertakes a five week residency before presenting a new work in the Tower Room. Organised by Ikon and TarraWarra Museum of Art with curatorial advisor Hetti Perkins. Supported by the Australian Government through the Australia Council, its arts funding and advisory body. 2 Yhonnie Scarce 1 Hollowing Earth (2017) Hand blown uranium enriched glass Courtesy the artist and This is No Fantasy Photograph by Janelle Low Ikon presents the most comprehensive UK Judy Watson exhibition to date by Australian Aboriginal artist Judy Watson, as part of an international tour developed in partnership with TarraWarra Museum Exhibition of Art, Healesville, Australia. 4 March – 31 May 2020 First Floor Galleries Born in Mundubbera, Queensland, Watson derives inspiration from her matrilineal Waanyi heritage, Launch Night often conveyed through collective memory, using it Wednesday 4 March, 6–8pm – FREE as a foil for the archival research that informs much of her practice. The latter spells out an unceasing and institutional discrimination against Aboriginal people, described by curatorial advisor Hetti Perkins as “Australia’s ‘secret war’”.
    [Show full text]
  • Ikon Youth Programme: Slow Boat Launching Summer 2021
    Ikon Gallery 1 Oozells Square Brindleyplace Birmingham B1 2HS 0121 248 0708 / ikon-gallery.org free entry / donations welcome Registered charity no. 528892 Ikon Youth Programme: Slow Boat Launching Summer 2021 IYP fly-post Slow Boat with Birmingham artist Foka Wolf, September 2018 For ten years Ikon Youth Programme (IYP) has steered Slow Boat around the canals of the West Midlands and beyond. A converted narrow boat, it is a unique floating space for IYP, local communities and artists to make and experience art in a stimulating and creative environment. With the support of Freelands Foundation, over the next three years (2021-2024) IYP will continue to navigate the waterways, collaborating with creative thinkers and makers to reimagine Slow Boat as a local art school. Set against the backdrop of funding cuts to arts education, we will expand the alternative curriculum offered by IYP, raising fundamental questions concerning the definition and relevance of art. “Support from Freelands Foundation affirms our belief as young people that an alternative arts education is integral to our learning. We hope to generate new ways of thinking that will result in positive conversations with art schools, transforming social narratives and building on radical histories that reflect our everyday experiences. We are all looking forward to the future discourse around this project, including the changing space of Slow Boat; a space of provocation, a space of transformation, a space of us.” Ikon Youth Programme, Birmingham Ikon Gallery 1 Oozells Square Brindleyplace Birmingham B1 2HS 0121 248 0708 / ikon-gallery.org free entry / donations welcome Registered charity no.
    [Show full text]
  • Unitarian Members of Parliament in the Nineteenth Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository Unitarian Members of Parliament in the Nineteenth Century A Catalogue D. W. Bebbington Professor of History, University of Stirling The catalogue that follows contains biographical data on the Unitarians who sat in the House of Commons during the nineteenth century. The main list, which includes ninety-seven MPs, is the body of evidence on which the paper on „Unitarian Members of Parliament in the Nineteenth Century‟ is based. The paper discusses the difficulty of identifying who should be treated as a Unitarian, the criterion chosen being that the individual appears to have been a practising adherent of the denomination at the time of his service in parliament. A supplementary list of supposed Unitarian MPs, which follows the main list, includes those who have sometimes been identified as Unitarians but who by this criterion were not and some who may have been affiliated to the denomination but who were probably not. The borderline is less sharp than might be wished, and, when further research has been done, a few in each list may need to be transferred to the other. Each entry contains information in roughly the same order. After the name appear the dates of birth and death and the period as an MP. Then a paragraph contains general biographical details drawn from the sources indicated at the end of the entry. A further paragraph discusses religious affiliation and activities. Unattributed quotations with dates are from Dod’s Parliamentary Companion, as presented in Who’s Who of British Members of Parliament.
    [Show full text]
  • Southall, Joseph
    Joseph Southall, Contentment Nottingham 1861 - 1944 Birmingham watercolor on vellum, nailed to a linen-covered stretcher 14 ½ by 10 ¾ inches (36.7 by 27.5 cm) signed in monogram and dated lower right: ‘1928’; inscribed on verso: ‘PORTRAITS OF BESSIE & TODDIE / watercolor on Vellum / Joseph Southall 1928’ provenance: Mrs. A E Southall, her sale, Edwards Birmingham (March 23, 1948, lot 249); Sotheby’s, Belgravia (March 19, 1979, lot 17); The Fine Art Society; Mr. & Mrs. Alan Fortunoff exhibited: London, NEAC, Summer Exhibition, 1928 (99). Birmingham, RBSA, Autumn Exhibition, 1928 (143). Paris, Société National des Beaux-Arts, Salon, 1929 (1573). London, Leicester Galleries, Joseph Southall, 1931 (46). Birmingham, RBSA, Joseph Southall, 1933 (57). Birmingham; London, RWS & Bournemouth, Memorial Exhibition, 1945 (65). Birmingham & FAS, 1980 (E12). literature: ‘Up Front’, The Observer Colour Magazine, March 18, 1979, p. 23. Sixty Works by Joseph Southall, 1861-1944 from the Fortunoff Collection, Fine Art Society, 2005, pp 98-99, no. 23, illus. note: Joseph Edward Southall was born in Nottingham on August 23, 1861, the son of a grocer, Joseph Sturge Southall, and his wife Elizabeth Maria Baker, both scions of distinguished Quaker families.1 The elder Joseph died the following year aged only twenty-seven and his widow and baby removed to her mother’s house in Edgbaston, Birmingham. The young Joseph’s childhood and schooling followed the traditional pattern for a family of his class and background; he attended the Friends’ School at Ackworth and later, in 1872, the Friends’ School at Bootham, York, where he was taught watercolor painting by Edwin Moore, a brother of the marine painter Henry Moore and the even better known artist, Albert Moore, whose stylish arrangements of classically-draped young women came to epitomize the Aesthetic Movement of the 1870s.
    [Show full text]
  • ASSOCIATION of ART HISTORIANS Registered Charity No
    February 1994 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BNI 5PF For information on advertising & membership: Kate Woodhead, Dog and Partridge House, Bxley, Cheshire CWW 9NJ Tel: 0606 835517 Fax: 0606 834799 CHAIR'S REPORT During the autumn the Officers and the put more pressure on Vice-Chancellors for potential sponsors to the Director of Executive Committee of the Association and on the Funding Council itself to have Publicity and Administration. have taken up a number of issues of interest the system amended. Benefactors - Change your terms of to the membership. membership to become a Benefactor. Art History Departments' E-Mail We have also received the excellent Art History Teaching in Scottish Network news that the Association will no longer be Universities The Association wishes to establish an E- charged VAT on subscriptions and other The Scottish Higher Education Funding Mail network to keep colleagues working business. This will save us substantial Council is about to embark upon a Quality in Art History departments across the amounts every year. Many congratulations Assessment Programme for Humanities country more closely in touch with one and thanks to Peter Crocker for his patient subjects in the academic year 1995-96. another. E-mail addresses to the Chair negotiations with HM Customs & Excise. The Association has written to the Director please. 1994 Bookfair: It is vital to the of Teaching and Learning making a case Association's finances that this event is a for Art History to be assessed separately Review of the Academic Year success.
    [Show full text]