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Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
Gallery Trail 2018
Buck’s-horn plantain Buck’s-horn Sea beet From Newlyn Art The Rain it From The Exchange, follow the red Gallery, follow the red Raineth Every Day numbers in descending order, numbers in ascending on your walk to Newlyn Art Gallery order, on your walk to 12 4 Pirates! NEW STREET The Exchange The Exchange CHAPEL STREET 10 NEWLYN ART GALLERY 11 Union New Road, Newlyn, Penzance TR18 5PZ Hotel THE EXCHANGE Princes Street, Penzance TR18 2NL Brick face Tidal observatory Penzance’s pink prom newlynartgallery.co.uk 01736 363715 A L Church St Mary’s E X OPEN Summer Mon - Sat, Winter Tue - Sat, 10.00 – 17.00 A 9 GALLERY TRAIL N D The Egyptian House R BUSES run from The Greenmarket to A Admiral Benbow R 8 Newlyn Art Gallery every 15 - 30 mins. O A Newlyn Art Gallery 5 D D R A Y Facts and information supplied by Bryony Rylett EL WESTERN PR 7 P OMENADE R A Leaflet design by SPY Design and Publishing Ltd. AD OAD H RO NEW Educational Charity: 273785 Fishermen’s memorial Fishermen’s VAT Number: 133 1322 23 1 UNDER C How to use this map: 3 Limited Company Number: 1310070 The Jubilee pool Follow the route indicated and every FREE time you see a number ( 1 ), you will ROUTE 6 find a brief description of the site @newlynexchange GALLERYMAP TRAIL 2 overleaf. ROUTE MAP MOUNTS BAY Gallery Trail statue and raised the money to pay for it and its by pirates. Boats were captured, fishermen does not stop waves, sometimes as high style is Commissioner’s Gothic. -
Download Our Guide To
BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland. -
Peter Lanyon's Biography
First Crypt Group installation, 1946 Lanyon by Charles Gimpel Studio exterior, Little Park Owles c. 1955 Rosewall in progress 1960 Working on the study for the Liverpool mural 1960 On Porthchapel beach, Cornwall PETER Lanyon Peter Lanyon Zennor 1936 Oil on canvas November: Awarded second prize in John Sheila Lanyon Moores Exhibition, Liverpool for Offshore. Exterior, Attic Studio, St Ives February: Solo exhibition, Catherine Viviano Records slide lecture for British Council. February: Resigns from committee of Penwith Gallery, New York. Included in Sam Hunter’s European Painting Wartime, Middle East, 1942–3 Society. January: One of Three British Painters at and Sculpture Today, Minneapolis Institute of January: Solo exhibition, Fore Street Gallery, Passedoit Gallery, New York. Later, Motherwell throws a party for PL who Art and tour. St Ives. Construction 1941 March: Demobilised from RAF and returns Spring: ‘The Face of Penwith’ article, Cornish meets Mark Rothko and many other New At Little Park Owles late 1950s April: Travels to Provence where he visits Aix March –July: Stationed in Burg el Arab, fifty to St Ives. Review, no 4. January–April: Italian government scholarship York artists. Visiting Lecturer at Falmouth College of Art January: Solo exhibition, Catherine Viviano March–April: Visiting painter, San Antonio and paints Le Mont Ste Victoire. miles west of Alexandria. March: Exhibits in Danish, British and – spends two weeks in Rome and rents and West of England College, Bristol. Gallery, New York. Art Institute, Texas, during which time he April: Marries Sheila Browne. 6 February: Among the ‘moderns’ who March: Exhibits in London–Paris at the ICA, American Abstract Artists at Riverside studio at Anticoli Corrado in the Abruzzi June: Joins Perranporth gliding club. -
Painting, 1960
92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Painting, 1960 P825 Height: 51 ¼ in (130cm) Width: 57 in (145cm) PROVENANCE Gimpel Fils £ 75000 EXHIBITION North Carolina Museum of Art, September 1964 DESCRIPTION Oil and sand on board Signed and dated verso S Blow 1960 ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam). -
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992 Francis Bacon was born in Dublin but moved to London in 1925, where he lived and worked from then on. His figurative painting became famous for his grotesque portrayal of his subjects and its somber depiction of the human condition. He represented Britain in the Venice Biennale of 1956 together with artists Ben Nicholson and Lucian Freud, and is considered one of the most remarkable British artists of all time, although anecdotically he turned down a CBE in 1960. Though his work was not well received at first (and as a result he destroyed most of his earlier paintings), his fame started to grow from the 40s until he became one of the better known and most valued artists in the world. His art has been shown internationally in places such as Mexico City (1977), Madrid (1978), Tokio (1983) Moscow (1988) or Washington (1989), and the Tate Modern of London dedicated three retrospective exhibitions to his work (in 1977, 1985, and posthumously in 2008). During his life he was represented by the Hannover Gallery and the Malborough Fine Art Gallery, and nowadays we can find his pieces in museums and art galleries all around the world, for example at the Reina Sofía of Madrid, the Centre Pompidou of Paris, the MoMA of New York or the Tate Modern in London, and a number of them are part of private collections. SOLO EXHIBITIONS (SELECTION) 2016 Francis Bacon: Invisible Rooms, Tate Liverpool, UK 2015 Francis Bacon And The Masters, Sainsbury Centre for Visual Arts, Norwich, UK 2014 Francis Bacon -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
A Local's Guide to Falmouth, Cornwall: 10 Top Tips This Working Harbour
A local’s guide to Falmouth, Cornwall: 10 top tips This working harbour town also has a creative buzz thanks to its thriving art school. The result is a winning blend of beach life, bohemian bars and great seafood Maritime museum To understand Falmouth (and arguably the rest of our island nation) you need to understand its relationship with the sea. The cavernous National Maritime Museum Cornwall, a beautiful building in itself, contains several floors of exhibitions that explore the changing influence of the sea on our lives – stories of discovery, survival and tragedy – and an active traditional boat workshop. Highlights include the undersea gallery in which visitors can watch fish swimming in the harbour from the sea bed, and the 30-metre lookout tower from which they can track the comings and goings of naval ships, superyachts, dinghies and cruise liners. The museum is popular with families who come for the performances, storytelling and treasure trails during the holidays, and warrants multiple visits, which is handy, especially when the weather turns. Celebrating its 15th birthday in 2018, the museum was central to the regeneration of Discovery Quay, now the focus for the town’s many festivals. The museum’s major exhibition, Titanic Stories explores the controversies, myths and stories that surround the best-known sinking of the 20th century. • Adult £13.50, child £6 (pay once, get in all year), open daily, nmmc.co.uk Gastro pub with rooms Once a spit-and-sawdust pub that served the crews of the Falmouth Working Boats, the Star and Garter, which opened in 1892, is now a smart gastro pub that prides itself on its nose-to- tail menu. -
Forward Plan 2015-2020
FORWARD PLAN 2015-2020 Owner: Henrietta Boex Next Review Date: April 2016 This policy was passed by Falmouth Town Council on 20th June 2015 This document can be made available in standard and large size print and on tape Forward Plan 2015-2020 Contents 1. Summary ......................................................................................................................................... 3 2. Introduction .................................................................................................................................... 4 3. Falmouth Art Gallery History .......................................................................................................... 4 4. Review of the Previous Forward Plan ............................................................................................. 5 5. Why We Exist .................................................................................................................................. 7 5.1. Vision (where we want to be) ................................................................................................. 7 5.2. Mission .................................................................................................................................... 7 5.3. Aims......................................................................................................................................... 7 5.4. Objectives................................................................................................................................ 7 6. -
NATIONAL LIFE STORIES ARTISTS' LIVES Terry Frost Interviewed By
NATIONAL LIFE STORIES ARTISTS’ LIVES Terry Frost Interviewed by Tamsyn Woollcombe C466/22 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/22 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Frost Title: Sir Interviewee’s forename: Terry Sex: Male Occupation: Artist Dates: 1915 - 2003 Dates of recording: 1994.11.19, 1994.11.20, 1994.11.21, 1994.11.22, 1994.12.18 Location of interview: Interviewee’s studio and home Name of interviewer: Tamsyn Woollcombe Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4312- F4622 Total no. -
SAMUEL BASSETT by Matt Retallick Sam Sent Me a Video
SAMUEL BASSETT By Matt Retallick Sam sent me a video link a couple of weeks ago. Alfred Wallis: Artist and Mariner, a mini documentary made in 1973, a glimpse into tHe life and work of Wallis througH the reminiscences of those wHo knew and loved him. Unique Penwith voices, honest and warm, spoke of Wallis and His paintings, but also of a St Ives lost to tHe mists of time. They told of an artist wHo wasn’t tHe outsider art History has made him, but a valued member of a close-knit community. His paintings were known even before Ben NicHolson was apparently to discover him. The truth is, Wallis was never discovered, and all NicHolson did was give His painting a wider audience amongst the modernist glitterati of Hampstead. Sam’s family Have lived and worked in St Ives for Hundreds of years, forefathers would Have no doubt known Wallis, after all, in a place the size of St Ives you know everybody. When I first met Sam, it was at PortHmeor Studios, a few doors up from tHe cottage Wallis once filled with paintings on scraps of wood, card, and marmalade jars. Sam’s studio was overflowing, a real artist’s studio witH paintings huddled, brushes and paints jumbled, and paper strewn across all available surfaces. It was refresHing; artists tend to spruce tHings up before a studio visit, make tHings sHipsHape, not here. There was sucH an abundance, and I was reminded instantly of Wallis, for wHom painting, and drawing was a compulsion, it’s tHe same for Sam. -
The Constant Times VOLUME 8, ISSUE 1
V OLUME 8, I SSUE 1 The Constant Times F EBRUARY /MARCH 2019 Constantine School’s 50th Christingle service Cags Gilbert, Head of School At Constantine School we have been extremely lucky to fit in several vis- its to our village church in the last month. We sang alongside Mawnan School for the Advent Carol Service and also celebrated the 50th year of the Christin- gle at our own school service. More Constantine School news on Page 2. Also in this issue... Page 3 Collector returns constable’s staff Page 4 If you go down to the woods today... Page 8 Christmas Lights reflections Page 9 Transition’s second helping Page 11 Garden Society photo quiz Page 16 The Passmore Edwards legacy Page 2 Volume 8, Issue 1 Constantine School news (Cont’d) Discovering the deep….. Year 4 have been learning about our Awesome Oceans and local fisher- man, Cameron, came in to show us our favourite species and they were all alive! Straight from the morning’s catch, he arrived excitedly to tell us some of what he knew as we were keen to listen to him and ask questions. We learnt so much about life-cycles, their habitats, mating, adaptations and we also got to handle some pretty big and live shell fish. It was so much fun! AN APPEAL TO ALL DOG OWNERS FROM THE EDITOR There’s no easy way of putting this, but despite previous complaints, some irresponsible dog owners are still allowing their animals to foul the grass verge beside the school. This is especially unpleasant and a potential health risk for school and pre-school children.