Glasgow School of Art
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Gd I N Bvrgh
Item no 20 + GD IN BVRGH + THE CITY OF EDINBURGH COUNCIL Central Library Conservation Plan Executive of the Council 30 November 2004 1. Purpose of report To inform the Executive of the findings of the Central Library Conservation Plan 2. Summary 2.1 The report describes the background to the Conservation Plan, presents its key findings and indicates how it can be progressed. 3. Background 3.1 A Conservation Plan is an approach to exploring the sustainable use of a cultural, or ecological asset. Its purpose is to establish and describe the historic importance of the asset and its setting: to analyse the effects of changes that have been made in the past; and to put forward policies for conservation, repair, and restoration of its historic character and features. 3.2 The Central Library conservation Plan is intended to advise future proposals for the Library and represents a first step towards Heritage Lottery Fund and Historic Scotland grant applications. 3.3 In commissioning the Conservation Plan, the Culture and Leisure Department saw it as an important first step in taking forward the work which started during the late 1980s to modernise and remodel the Central Library. 3.4 Opened in 1890, Edinburgh’s Carnegie Central Library is a landmark building, located close to the heart of the world heritage site. It is one of the Council’s major cultural assets, Its importance within the city’s cultural infrastructure is set to increase with Edinburgh’s designation as the first UNESCO City of Literature. 3.5 The Library contains unique collections of national importance centred on those of the Edinburgh Room and Scottish Library, and houses Scotland’s busiest lending library. -
KARLA BLACK Born 1972 in Alexandria, Scotland Lives And
KARLA BLACK Born 1972 in Alexandria, Scotland Lives and works in Glasgow Education 2002-2004 Master of Fine Art, Glasgow School of Art 1999-2000 Master of Philosophy (Art in Organisational Contexts), Glasgow School of Art 1995-1999 BA (Hons) Fine Art, Sculpture, Glasgow School of Art Solo Exhibitions 2021 Karla Black: Sculptures 2000 - 2020, FruitMarket Gallery, Edinburgh 2020 Karla Black: 20 Years, Des Moines Art Centre, Des Moines 2019 Schirn Kunsthalle, Frankfurt Galerie Gisela Capitain, Cologne 2018 The Power Plant, Toronto Karla Black / Luke Fowler, Capitain Petzel, Berlin 2017 Stuart Shave / Modern Art, London Festival d’AutoMne, Musée des Archives Nationales and École des Beaux-Arts, Paris MuseuM Dhondt-Dhaenens, Deurle 2016 Galleria Raffaella Cortese, Milan A New Order (with Kishio Suga), Scottish National Gallery of Modern Art, National Galleries of Scotland, Edinburgh David Zwirner, New York Galerie Gisela Capitain, Cologne 2015 Irish MuseuM of Modern Art, Dublin 2014 Stuart Shave / Modern Art, London Galleria Raffaella Cortese, Milan David Zwirner, New York 2013 Kestner Gesellschaft, Hannover Institute of ConteMporary Art, University of Pennsylvania, Philadelphia Galerie Gisela Capitain, Cologne GeMeenteMuseuM, The Hague 2012 Concentrations 55, Dallas MuseuM of Art, Dallas Schinkel Pavillon, Berlin Gallery of Modern Art, Glasgow Stuart Shave / Modern Art, London 2011 Scotland + Venice 2011 (curated by The FruitMarket Gallery), Palazzo Pisani, 54th Venice Biennale, Venice 2010 Capitain Petzel, Berlin WittMann Collection, Ingolstadt -
Download Press Release
LUCY SKAER CAROL RHODES HANNELINE VISNES HEAVY WEATHER May 18 – July 13, 2019 Opening Saturday May 18th Frans Halsstraat 26 From 6pm until 8pm GRIMM is proud to present Heavy Weather, an exhibition showers’ and ‘Violent Thunder’. These works function as an organised by Lucy Skaer (UK, 1975) with selected works by exploration of the role of feeling, emotion and subjectivity in Carol Rhodes (UK, 1959-2018) and Hanneline Visnes (NO, how we experience history, objects, images, or situations, 1972). The works in the show are united by the theme of despite degrees of abstraction or transmutation. temporality and landscape, meditating on nature, how it is altered and effected by human vision and action. This is In the paintings of Hanneline Visnes, which surround Skaer’s Skaer’s second exhibition with the gallery in Amsterdam La Chasse, stylised motifs of animals and plants are used to and follows her recent collaborative exhibition The Green comment on the representation and control of nature. Visnes Man held at the Talbot Rice Gallery in Edinburgh (UK). merges disparate patterns, motifs, and subjects into her meticulously crafted paintings. She explores and harnesses Lucy Skaer’s main body of work in the exhibition is titled the power of colour, utilising complementary hues that bounce La Chasse, after Le Livre du Chasse, a hunting manual by and fight off the surface, causing her still lifes to dance with Gaston Phébus from the fourteenth century. Skaer was agitated energy. By treating her ‘subject’ and background compelled by illustrations in this medieval manuscript with the same process, the traditional focal point of the work for their representation of time and form. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
Jim Lambie Education Solo Exhibitions & Projects
FUNCTIONAL OBJECTS BY CONTEMPORARY ARTISTS ! ! ! ! !JIM LAMBIE Born in Glasgow, Scotland, 1964 !Lives and works in Glasgow ! !EDUCATION !1980 Glasgow School of Art, BA (Hons) Fine Art ! !SOLO EXHIBITIONS & PROJECTS 2015 Anton Kern Gallery, New York, NY (forthcoming) Zero Concerto, Roslyn Oxley9 Gallery, Sydney, Australia Sun Rise, Sun Ra, Sun Set, Rat Hole Gallery, Tokyo, Japan 2014 Answer Machine, Sadie Coles HQ, London, UK The Fruitmarket Gallery, Edinburgh, Scotland 2013 The Flowers of Romance, Pearl Lam Galleries, Hong Kong! 2012 Shaved Ice, The Modern Institute, Glasgow, Scotland Metal Box, Gerhardsen Gerner, Berlin, Germany you drunken me – Jim Lambie in collaboration with Richard Hell, Arch Six, Glasgow, Scotland Everything Louder Than Everything Else, Franco Noero Gallery, Torino, Italy 2011 Spiritualized, Anton Kern Gallery, New York, NY Beach Boy, Pier Art Centre, Orkney, Scotland Goss-Michael Foundation, Dallas, TX 2010 Boyzilian, Galerie Patrick Seguin, Paris, France Jupiter Artland, Edinburgh, Scotland Metal Urbain, The Modern Institute, Glasgow, Scotland! 2009 Atelier Hermes, Seoul, South Korea ! Jim Lambie: Selected works 1996- 2006, Charles Riva Collection, Brussels, Belgium Television, Sadie Coles HQ, London, UK 2008 RSVP: Jim Lambie, Museum of Fine Arts, Boston, MA ! Festival Secret Afair, Inverleith House, Ediburgh, Scotland Forever Changes, Glasgow Museum of Modern Art, Glasgow, Scotland Rowche Rumble, c/o Atle Gerhardsen, Berlin, Germany Eight Miles High, ACCA, Melbourne, Australia Unknown Pleasures, Hara Museum of -
The Glasgow Academy WW1 Roll of Honour
The Glasgow Academy WW1 Roll of Honour From the onset of the First World War in 1914 until 1918, the Glasgow Academy suffered a great many losses during the conflict. In fact, it is believed there was a higher number of losses incurred when compared to other independent schools of the time. The following is a list of the former pupils who were casualties and as far as we have been able to, includes information and photographs to tell the stories of these men. In some case, we have little or no information about some of these individuals, so please get in touch if you have anything which could help us fill in the gaps and help us tell their stories. Email: [email protected] 1 Lt William M Alexander Biography Remembered on the Roll of Honour in Dundee , William lived in Broughty Ferry before the War. Highland Light 8th March 1892-12th Son of John and His brother, Ronald served as a Lieutenant Infantry Oct 1918 Mayflower with the Royal Field Artillery during the Alexander, of 2, Age 26 Great War. Smith St., Hillhead, Glasgow, West 2 Private George W Allan* Biography According to his father, Reverend Charles Allan, his son was 'mentioned in officers' letters for bravery. Going to the help of wounded comrades and was said Highland Light 31st August 1894- 17th Son of the Rev. by his own comrades to have earned the Infantry April 1915 Charles Allan, M.A., Victoria Cross "half a dozen times over"'. and Margaret Allan, He was awarded the 1914 Star Age :21 of Duneira, Greenock posthumously 3 Lieutenant Ramsay Allan Biography Ramsay was an only son. -
Scotland Street Public School
M233 Scotland Street Public School Introduction This three-storey school was built by the School Board of Glasgow to serve a densely populated part of Tradeston, just S. of the River Clyde. Some features show the influence of historic Scottish architecture, but the design is remarkable for its novel reinterpretation of tradition, especially in the glazed towers that light the stairs. The boundary wall with its gates and railings and the janitor's house at the N.W. corner of the site were part of the original scheme. Closed as a school due to demolition of the surrounding housing, the building reopened as a museum of education in November 1990. Authorship: Mackintosh is named as architect in official correspondence from the School Board, and in other contemporary sources. Scotland Street School was one of his most important commissions. Cost from job book: £18,597 2s 6½d Cost from other sources: The final measurements of £19,171 8s 1d plus other expenses of £1370 0s 6d gave a total of £20,541 12s 6d. 1 Status: Standing building Current name: Scotland Street School Museum Current use: Museum of Education (2014) Listing category: A Historic Scotland/HB Number: 33534 RCAHMS Site Number: NS56SE 328.01 Grid reference: NS 57752 64142 Chronology 1903 27 April: Purchase of ground for new school in Tradeston. 1 22 June: Mackintosh appointed architect (but official letter of appointment not written until 21 August). 2 2 November: First drawings submitted to The School Board of Glasgow. Modifications requested. 3 1904 January: First set of drawings for school and janitor's house made for submission to Glasgow Dean of Guild Court. -
William Crosbie Centenary Exhibition
WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh. -
Glasgow Herald Buildings
M072 Glasgow Herald Buildings Introduction The major alterations and additions to the Buchanan Street offices of the Glasgow Herald newspaper were one of John Honeyman & Keppie's biggest jobs, and one of the outstanding commercial building projects of 1890s Glasgow. The main element (phase 3 in John Honeyman & Keppie's job book) was a large new building at the rear in Mitchell Street. The job books also record a number of smaller, self-contained schemes for fitting out individual offices, and for other alterations. Authorship: Mackintosh himself claimed responsibility for the Mitchell Street building. His handwriting is on many of the surviving drawings, at least one contemporary architectural periodical ascribed the 'individuality' of the design to him, and the architect W. S. Moyes, who later worked in Honeyman, Keppie & Mackintosh's office, stated the Glasgow Herald was Mackintosh's design. 1 However, it is extremely unlikely that such an important commission would have been placed entirely in his hands while he was still a young assistant, and there must have been substantial input from John Keppie, and possibly John Honeyman. Alternative addresses: 7 Mitchell Lane 60–76 Mitchell Street Cost from job book: Phase 1: £357 1s 10½d; Phase 2: £132 14s 0d; Phase 3: £64,210 13s 5d; Phase 4: £537 6s 5d; Phase 5: £5033 9s 2d; Phase 6: £3065 4s 5d; Phase 7: £107 17s 6d; Phase 8: £3971 16s 7d Status: Partly demolished, partly converted to new uses Current name: The Lighthouse Current use: Shops, offices, bar, exhibition space(2014) Listing category: -
The Edinburgh Gazette, August 14, 1914. 985
THE EDINBURGH GAZETTE, AUGUST 14, 1914. 985 Own name and on his own account, and the said Farms XTOTICE is hereby given that Alexander Cochrane of Moodlaw and Raebumfoot will be carried on by the J-l Morrison, Warehouseman, 25 Jamaica Street, said Mrs. Sybella Gartner or Beattie in her own name and Glasgow, retired, as at 19th July 1913, from the Firm on her own account. of MONTEITH & SANDERS, Manufacturers and Dated at Moodlaw aforesaid, this eighth day of Merchants, 25 Jamaica Street, Glasgow, and is not August 1914. responsible for payment of any debts by said Firm JOHN GARTNER. after said date. A. C. MORRISON. Witnesses to Signature of John Gartner— MARY E. IRVING, Moodlaw, Langholm, WILLIAM FERGUSSON, Writer, 19 N.B. Blythswood Square, Glasgow, Wit- ROBERT IRVING, Moodlaw, Langholm, ness. N.B., Farmer. W. B. MACKIK, Clerk, 19 Blythswood SYBELLA BEATTIE. Square, Glasgow, Witness. Witnesses to Signature of Mrs. Sybella MONTEITH & SANDERS. Gartner or Beattie— JOHN WHYTE, Cashier, 25 Jamaica MAKV E. IRVIXO, Moodlaw, Langholm, Street, Glasgow, Witness. X. B. MARION BELL THOMSON, Bookkeeper, ROBERT IRVING, Moodlaw, Langholm, 25 Jamaica Street, Glasgow, Wit- N.B., Farmer. ness. Glasgow, 7th August 1914. mHE Copartnery of THOMSON & MITCHELL, -JL Textile Manufacturers, 164 Howard Street, NOTICE OF DISSOLUTION. Glasgow, of which the Subscribers James Thomson and James Mitchell were the sole Partners, waa DIS- rPHE Firm of DOUGLAS & SON, Watchmakers SOLVED by mutual consent as at 30th June 1914. JL and Jewellers, nine Hamilton Street, Greenock, was DISSOLVED as at 31st December nineteen JAMES THOMSON. hundred and thirteen, by the retiral therefrom of the Witnesses to the Signature of the said Subscribers Mrs. -
Thesis Submitted for the Degree of Doctor of Philosophy
University of Bath PHD Architecture, power and ritual in Scottish town halls, 1833-1973 O'Connor, Susan Award date: 2017 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 11. Oct. 2021 Architecture, Power and Ritual in Scottish Town Halls, 1833-1973 Susan O’Connor A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Architecture and Civil Engineering June 2016 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. -
Discography Section 18: R (PDF)
1 FRAB THE RHYMER ( ? – 1944). (r.n. Dr. Douglas S. Raitt) Scottish humorous speech with piano Recorded West Hampstead, London, prob. June/July 1939 (before 13th. July) M-873 The 'Breembraes' A.R.P. (D. S. Raitt) Bel 2408, BL-2408 M-874 The fairmer's ball (D. S. Raitt) Bel 2407, BL-2407 M-875 Kirsty (D. S. Raitt) Bel 2405, BL-2405 M-876 The Kilt Society's ball (D. S. Raitt) Bel 2407, BL-2407 M-877 As the auld cock craws (D. S. Raitt) Bel 2406, BL-2406 M-878 Pullin' the strings (D. S. Raitt) Bel 2406, BL-2406 M-879 A wee stoot laddie (D. S. Raitt) Bel 2405, BL-2405 M-880 Ye widna ken 'Breembraes' (D. S. Raitt) Bel 2408, BL-2408 NOTE: The artist received ¾d. per side royalties. Whilst a student at Aberdeen University in 1927 he had written and produced the annual students’ union show, “Northern Lights”. JACK RADCLIFFE (Cumnock, 1900 – 1967). Vocal Recorded Montreal, ca early 1954 Katie McGraw ( - ) Thistle T-221 Best wee lassie ( - ) Thistle T-221 NOTE: This artist was Scots and probably on tour with Robert Wilson & Company ROBERT RADFORD (Nottingham, 1875 – London, 1933). Bass with the Band of The Coldstream Guards Recorded London, Wednesday, 6th. November 1917 Scots wha hae (Robert Burns; trad) HMV 02761(s/s)(12”); HMV D-104 NOTE: Other records by this artist are of no Scots interest. CHARLES RAE Violin solo Recorded Megginch Castle, Errol, Perth, between April – November 1934 A-283 White heather selections ( - ) Great Scott A-283 NINA RAE (Georgiana Rae) (Glasgow, 1879 - ? ).