Spring 2020 C a Talogue
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Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
ART, CRAFT and DESIGN (7201/X) Component 2 Externally Set Assignment 2018
A-level ART AND DESIGN ART, CRAFT AND DESIGN (7201/X) Component 2 Externally set assignment 2018 To be issued to candidates on 1 February 2018 or as soon as possible after that date. All teacher-assessed marks to be returned to AQA by 31 May 2018. Time allowed • 15 hours Materials For this paper you must have: appropriate art materials. Instructions Read the paper carefully. Before you start work, make sure you understand all the information. Choose one question. As soon as the first period of supervised time starts you must stop work on your preparatory work. You may refer to it in the supervised time but it must not be added to or amended. • The work produced in the supervised time may take any appropriate form but must show evidence of working in areas of study drawn from one or more of the endorsed titles. You must show evidence of personal work relating to your chosen question. You must show evidence of research and of investigating and developing ideas. This should include visual work and, if appropriate, annotations or written work. Sketchbooks, workbooks and/or journals may be included. Practical responses to the work of other artists, designers, craftspeople and photographers must show development in a personal way. The work submitted for this component must be produced unaided. You must not produce work for this component after the 15 hours of supervised time. Information The maximum mark for this paper is 96. • You should make sure that any fragile, temporary or ceramic work is photographed, in case of accidental damage. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Christopher Alexander and the Inadequacy of Genius in the Architecture of the Coming Age
Article Christopher Alexander and the Inadequacy of Genius in the Architecture of the Coming Age Duo Dickinson 1,2,3,4,5,6,* 1 FAIA, Madison, CT 06443, USA 2 Building Beauty American Advisory Board, Seattle, WA 98112, USA 3 Department of Architecture, University of Hartford Department of Architecture, West Hartford, CT 06117 USA 4 Hearst Publications, Norwalk, CT 06851, USA 5 Mockingbird Ministries, Charlottesville, VA 22902 USA 6 CT American Institute of Architects, New Haven, CT 06511, USA * Correspondence: [email protected] Received: 22 January 2020; Accepted: 20 March 2020; Published: 13 April 2020 Abstract: There are only two ways of looking at any design problem despite all the elaborations evolved from these two paths. Either a designer directs an outcome and creates a product, or a solution is derived from a process involving the people and circumstances of the problem. The first way is object focused and is celebrated in architectural criticism and journalism. It is the way of the salvational Genius, whose personal insight pierces all preconceptions and launches into innovation. This operational model is called the architectural canon. The second way, working through a process, is how the rest of us grapple with any issue. The power of Christopher Alexander's life is not about the distillation of a personal perspective (the profession's stereotypical Genius model) but his vital focus is on the second way a design is created. Alexander is a polymath, open to a process using human criteria and universal opportunities that can discern and convey the way to create. His life efforts show the future of the practice of architecture in a world soon overwhelmed by technology. -
The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin
The Compass Volume 1 Issue 4 Volume 1, Issue 4, The Compass Article 3 January 2017 Redefining the Gaze: The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin Megan D'Avella Follow this and additional works at: https://scholarworks.arcadia.edu/thecompass Recommended Citation Megan D'Avella (2017) "Redefining the Gaze: The Self Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin," The Compass: Vol. 1 : Iss. 4 , Article 3. Available at: https://scholarworks.arcadia.edu/thecompass/vol1/iss4/3 This Article is brought to you for free and open access by ScholarWorks@Arcadia. It has been accepted for inclusion in The Compass by an authorized editor of ScholarWorks@Arcadia. For more information, please contact [email protected]. Redefining the Gaze: The Self-Portraiture of Helene Schjerfbeck, Romaine Brooks, and Marianne Werefkin By Megan D’Avella, Arcadia University Introduction manner, males boldly presented themselves through self-imagery.1 This can make early Throughout the history of art, self-portrai- female self-portraiture difficult to read autobi- ture has been explored by artists as means ographically, as a subdued painting does not to emphasize their artistic capabilities, claim necessarily translate into a subdued woman. their importance in modern art, and solidify Keeping in mind the traditional stan- their existence. The work accomplished by dard of female portraiture, the un-idealized female artists, however, must be considered self-representations that Helen Schjerfbeck, separately from the overall genre of portrai- Romaine Brooks, and Marianne Werefkin ture. Women in the early twentieth century painted were no small statement at the turn of needed to approach the canvas with careful the century. -
Travelling in a Palimpsest
MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? . -
1 / 56 Metropolitan Museum of Art Alexander Mcqueen: Savage Beauty Audio Guide Press Script Narrator: Andrew Bolton Voices: Sara
Metropolitan Museum of Art Alexander McQueen: Savage Beauty Audio Guide Press Script Narrator: Andrew Bolton Voices: Sarah Jessica Parker, Naomi Campbell, Sarah Burton, Aimee Mullins, Shalom Harlow, Louise Wilson, Sam Gainsbury, Annabelle Nielsen, Philip Treacy, Shaun Leane, Trino Verkade, Tiina Laaokonen, Mira Chai Hyde, John Gosling, Michelle Olley 400 Exhibition Introduction [LINK TO 450] 450 Level 2: McQueen Biography 401 Dress, VOSS, 2001 (page 75) 402 Introduction: The Romantic Mind 403 Coat, Jack the Ripper, 1992 (page 32) 404 Jacket, Nihilism, 1994 (page 38) [LINK TO 451] 451 Level 2: McQueen’s Early Years 405 Bumster Trouser, Highland Rape, 1995-6 (page 5) 406 Dress, Plato’s Atlantis, Spring/Summer 2010 (page 43) 407 Introduction: Romantic Gothic 408 Dress, Horn of Plenty, 2009-10 (page 72) 409 Corset, Dante, 1996-7 (page 82) 410 Angels/Demons Collection, 2010-11(pages 93-101) 411 Introduction: Cabinet of Curiosities 412 Dress, No. 13, 1999, White Cotton spray-painted dress (page 217) 413 Shaun Leane, Coiled Corset, The Overlook, 1999-2000 (page 200) 414 Shaun Leane, Face Disc, Irere, 2003 (pages 208-209) 415 Ensemble and Prosthetic Leg, No. 13, 1999 (pages 220-223) [LINK TO 452] 452 Level 2: Aimee Mullins Continued 416 Shaun Leane, Spine Corset, 1998, page 202 417 Philip Treacy, Headdress (bird), The Girl Who Lived in the Tree, 1 / 56 autumn/winter 2008-9 (pages 205-5) 418 Armadillo Boot, Plato’s Atlantis, Spring/Summer 2010 (pages 212-13) 419 Philip Treacy, Hat of turkey feathers painted and shaped to look like butterflies, -
Cover Story Alexander Mcqueen
Cover Story Alexander McQueen 12 ...was Alexander McQueen’s nickname for himself, but his self- deprecation hid a deep despair. Now his best friends reveal how the fabric of the designer’s life unravelled. By David James Smith haun describes the phone call that came horrible. The housekeeper’s wife had arrived. on a Thursday in February, four months There was screaming, too much screaming, and ago, as a moment he will never forget, Shaun could not understand what was being and a moment he hopes never to repeat — even said. He gathered his friend was hurt. Is Lee all though, in a weird and not unconnected chain right? Shaun asked. Is he in an ambulance? of events, it was a repeat of a moment from Has he gone to hospital? He could not make three years earlier. sense of the answers and did not understand It was a morning call, not more than a few that his friend was already dead, found hanged minutes after his friend’s body had been found in his own wardrobe. by the housekeeper, Cesar Garcia, who was also A very, very sad time, as Shaun put it, with McQueen’s dog walker. Cesar first called the English understatement, some weeks later during friend’s PA, Kate Jones — “He’s gone, he’s gone our interview. As he said, it soon ceased to be a for good” — and later called Shaun. It was private matter and rapidly entered the public a a 13 Flamboyant friends: McQueen and his ‘rock’ domain. Within minutes, the news of Lee Isabella Blow in Alexander McQueen’s shockingly unanticipated Vanity Fair in 1997. -
Her Paris: Women Artists in the Age of Impressionism
EXHIBITION REVIEWS Her Paris: Women Artists in the Age of Impressionism Denver Art Museum | Denver, Colorado October 22, 2017–January 15, 2018 er Paris: Women Artists in for the Denver Art Museum, it landscape, the boudoir, and the Age of Impressionism signaled a continued commitment fashion. The first section, “The Art featured works by 37 to women artists following their of Painting,” focused on restricted female artists, from across 2016 exhibition Women of educational opportunities—a text Europe (including the Abstract Expressionism. According panel emphasized the École des HNordic countries) and the United to curator Laurence Madeline, Beaux-Arts’ policy of excluding States, who were active in Paris in the work of the pioneering female women until 1897—and offered the late-nineteenth century.1 Paris, artists included in Her Paris a selection of portraits and however, was simply a starting continues to be underestimated depictions of women painting, point, meant to facilitate the re- today by art historians.2 To address sketching, copying masterpieces, evaluation of the work of these this, the exhibition celebrated or studying at the independent artists, and the exhibition gave their works—but failed to fully ateliers that were becoming equal attention to the artistic avant- explore why they continue to be increasingly popular. The highlight garde as well as to those adhering underestimated. here was Russian-born Marie to academicism and naturalism The works of art were organized Bashkirtseff’s, In the Studio (fig. 1). The opportunity to view thematically, with rooms (1881), a large-scale academic works by lesser-known artists devoted to women’s lives, history painting of women in a life class was a strength of the exhibit, and painting, young women, children, at the Académie Julian, to which 336 • secac Figure 1, left. -
Mcqueen's V&A
Silent Light Fashion In Motion Religious iconography ALEXANDER MCQUEEN AND TORD BOONTJE, 2003 ALEXANDER MCQUEEN AND SHAUN LEANE, 2001 MEDIEVAL & RENAISSANCE GALLERIES, GRAND ENTRANCE, LEVEL 1 IRONWORK, LEVEL 3, ROOM 113 LEVEL 0, ROOM 10, CASE 3 In 2003 the V&A commissioned The 2001 Fashion in Motion live McQueen admired fifteenth-century McQueen and lighting and furniture catwalk event celebrated the Flemish and Dutch art. In explaining McQUEEN’S designer Tord Boontje to design a longstanding collaboration between his fascination with its artists; he said Christmas tree for the Grand Entrance. McQueen and jewellery designer ‘because of the colours, because of the The six metre high tree, named Shaun Leane. Models stalked around sympathetic way they approached life ‘Silent Light’, was made from 150,000 the museum wearing Leane’s […] I think they were very modern V&A Swarovski crystals on polished stainless steel branches. It rotated slowly on contemporary jewelled body armour. for their times’. The Medieval and Alexander McQueen was one of the most visionary a mirrored plinth over a shattered The ironwork gallery proved a striking Renaissance Galleries contain many mirror, reflecting light around the backdrop to the pieces which are now examples of religious iconography, designers of his generation. He used to visit the V&A’s fashion Grand Entrance. considered landmarks in the art of including Robert Campin’s painting and textiles archives and took inspiration from the museum’s couture jewellery and contemporary Virgin and Child. McQueen used diverse collections, which he incorporated into his designs. body sculpture. imagery from Campin’s painting The Thief to the Left of Christ on a jacket He once said “The collections at the V&A never fail to in the collection It’s a Jungle Out There intrigue and inspire me. -
Exploring the Mind of Alexander Mcqueen
Exploring the Mind of Alexander McQueen By Luz Vargas Thesis Submitted in Partial Fulfillment of the Requirements for a Degree in Writing Journalism 5/7/13 Thesis Advisor: Prof. Vastola 1 Abstract My thesis project is a journalism profile on the late British fashion designer Alexander McQueen. The project describes how I was introduced into McQueen‟s work, followed by a biography on the designer. A number of McQueen‟s popular collections will also be described and shown with pictures, as well as, discussing the meanings behind them. The ending will then include my experience of attending McQueen‟s exhibit in 2011. 2 Table of Contents Introduction 4 Who is Alexander McQueen? 5 History in McQueen’s collection 10 McQueen’s Artistic Vision 16 The Last Collections 25 My Experience of Savage Beauty 32 Work Cited 37 3 Introduction Doing my research on British designer Alexander McQueen was a non-stop journey. As people dream of a world beyond their existence, McQueen made his dreams a reality through his collections of work. One designer who McQueen worked with and admired was Japanese designer Koji Tatsuno. Tatsuno‟s thoughts on the designer were, “I guess I did influence his work, particularly in making fabrics three- dimensional, but also in not accepting the limitations of conventional „fashion.‟” My discovery on McQueen started when I attended his 2011 memorial exhibit called “Savage Beauty” at the Metropolitan Museum of Art in New York. The person who encouraged me to go to the exhibit was my cousin, Richard Monroy. Monroy, a freshman in Parsons The New School for Design in New York, had this to say about McQueen: “Time and time again, I always hear other students list Alexander McQueen as one of their favorite designers. -
About the Book Valerio Olgiati - Bas Princen
VISUAL SPACES OF CHANGE: DESIGNING INTERIORITY SHELTER, SHAPE, PLACE, ATMOSPHERE ISSN: 2183-8976 [PRINT] 2183-9468 [ONLINE] Volume 5, Issue 1 | Publication year: 2020 DOI 10.24840/2183-8976_2020-0005_0001_10 © SCOPIO EDITIONS HOMEPAGE: HTTPS://WWW.SOPHIAJOURNAL.NET About the Book Valerio Olgiati - Bas Princen . A Talk on Architecture in Photography Images From Valerio Olgiati Personal Archive And Photographs By Bas Princen by Pedro Leão Neto As editor of scopio Editions it is a great honour to be writing this closing text about the present book which communicates our last Duelo/Dueto session of Architecture, Art and Image (AAI) series that had as invited authors Valerio Olgiati and Bas Princen. I will start by talking about the book as a privileged medium for Architecture, Art and Image and then go on focusing on this book in particular and its authors. This conference series had from the start planned a publication for each session with the contribution of the invited speakers and the organization because we believe that the physical book, without prejudice towards the potential of digital publications, is still a tool of paramount importance for preserving and building knowledge, not just for students and academics, but also for all professionals and non-scholars. The physical book somehow allows the understanding of what was discussed and debated in Duelo/Dueto sessions in a different manner, encouraging and giving the right time to each 96 viewer for a deeper thinking. The reading of these sessions also means that these events of rich exchange of ideas and personal experience between significant authors coming from AAI universe are preserved for future studies.