Fruitmarket Exhibition History to February 2020
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National Collecting Scheme Scotland National
National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008. -
Richard Long Lives and Works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College
Richard Long Lives and works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College of Art, Bristol, UK 1945 Born in Bristol, UK Selected Solo Exhibitions 2020 ‘FROM A ROLLING STONE TO NOW’, Lisson Gallery, New York, USA ‘MUDDY HEAVEN’, Sperone Westwater Gallery, New York, USA ‘FROM URIQUE TO ORIZABA RIVER DEEP MOUNTAIN HIGH’ Cuadra San Cristóbal, Mexico City, Mexico 2019 ‘Fate and Luck’, Galleria Lorcan O’Nell, Rome, Italy Lisson Gallery, Shanghai, China Galleria Tucci Russo Chambres d’Art, Turin, Italy Konrad Fischer Galerie, Berlin, Germany De Pont Museum, Tilburg, Netherlands 2018 ‘The Tide is High’, Alan Cristea Gallery, London, UK ‘Along The Way: Richard Long’, Fondation CAB, Brussels, Belgium Skulpturenhalle, Thomas Schutte Foundation, Neuss, Germany ‘ARTIST ROOMS: Richard Long’, Gallery Oldham, Oldham, UK ‘Circle to Circle’, Lisson Gallery, London, UK 2017 ‘ARTIST ROOMS: Richard Long: Drawn from the Land’, Derby Museum and Art Gallery, Derbyshire, UK ‘EARTH SKY’, Houghton Hall, Norfolk, UK ‘The Isle of Wight as Six Walks’, Quay Arts, Isle of Wight, UK 2016 ‘COLD STONES’, CAC Malaga, Malaga, Spain ‘Avon Tiber’, Galleria Lorcan O’Neill, Rome, Italy 2015 ‘Time and Space’, Arnolfini, Bristol, UK ‘The Spike Island Tapes’, Alan Cristea Gallery, London, UK ‘Larksong Line’, Galerie Tschudi, Zuoz, Switzerland 2014 ‘Prints 1970–2013’, The New Art Gallery, Walsall, UK Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Lisson Gallery, London, UK 2013 ‘Artist Rooms: Richard Long’, Potties Museum -
Manon De Boer One, Two, Many
Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 88, augustus 2013 Erkenningsnummer P309573 141 –143 Jaargang 17 No. 88 Hhe Stuff That Matters’ public for the first time. It also of the time after he left the (2012) presented a selection provided an insight into what art world. The exhibition of Seth’s collection to the Seth had been up to for some was, I think, a • Manon de Boer’s filmone, two, many is composed of three parts. In the last part four singers (Marianne Pousseur, Lucy Grauman, Vincent Bouchot, Paul Alexandre Dubois) perform a song from the Tre Canti Popolari by Giacinto Scelsi. This most recent work by De Boer was produced for Documenta 13 and explores in each part the existential space of the voice. (film still) (advertisement) The culmination of th’s activities in thorship has also been recognized; see for the art world would be the artist’s contract instance, the Visual Artists Rights Act 1990 (1971), intended to be a ‘self-help docu- (US). The contract, however, was also deep- ment’ for artists. The contract came out of ly impractical. Founded on the premise that research into the inequalities of the art sys- the collector of the artwork when selling it tem and the question of how artists could would have to find another collector to ratify 141 better protect their rights. Before drafting the same agreement was never going to be Opening Exhibition it, Seth interviewed hundreds of artists an attractive proposition. -
Contemporary Art Society Annual Report 1982
Contemporary Art Society Annual Report and Statement of Accounts 1982 ate Gallery 0 John Islip Street Dndon SW1 P 4LL 1-821 5323 The Annual General Meeting of the Contemporary Art Society will be held at Warwick Arts Trust, 33, Warwick Square, S.W.1 on Tuesday, August 9th, 1 983 at 6.1 5 p.m. 1 . To receive and adopt the report of the committee and the accounts for the year ended December 31,1 982, together with the auditor's report. 2. To appoint auditors, special notice having been given, pursuant to section 1 42 of the Companies Act 1 948 and section 1 4 (1} (a) of the Companies ' Act 1 976, of the intention to propose the following resolution as an ordinary resolution:-- that Messrs. Neville Russell be, and are hereby, appointed auditors of the Society in place of the retiring auditors, Messrs. Sayers Butterworth, to hold office until the conclusion of the next general meeting at which accounts are laid before the Society. 3. To authorise the committee to determine Messrs. Neville Russell's remuneration for the coming year. 4. To elect to the committee the following who has been duly nominated; Philip Poilock, The retiring members are Joanna Drew and the Marquess of Dufferin and Ava. 5. Any other business. By order of the committee Petronilla Spencer-Silver Company Secretary May 28 1 983 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Untitled Drawing from a series of paintings made in Australia, 1 981 Chalk, charcoal and wash on paper 44£ x 62 inches/1 13x157 cm. -
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 -
'The Neo-Avant-Garde in Modern Scottish Art, And
‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
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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. -
0-208 Artwork
The North*s Original Free Arts Newspaper + www.artwork.co.uk Number 208 Pick up your own FREE copy and find out what’s really happening in the arts May - June 2019 Shedding Old Coats – one of the haunting works by Karólína Lárusdóttir from a recent exhibition of her work at the Castle Gallery, Inverness. In- side: Denise Wilson tells the story of this Anglo-Icelandic artist. INSIDE: Cultivating Patrick Geddes :: Tapestry Now Victoria Crowe at City Arts :: A northern take on Turner artWORK 208 May/June 2019 Page 2 artWORK 208 May/June 2019 Page 3 CASTLE GALLERY KELSO POTTERY 100 metresmetres behind behind the Kelso Kelso Abbey in the Knowes Car Park. Abbey in The Knowes Car Park. Mugs, jugs, bowls and “TimePorridge Tablets” and Soup fired Bowls, in Piggy theBanks Kelso and Goblets,Pit Kiln. Ovenproof OpenGratin DishesTuesday & Pit-fi to Saturday red Pieces. Open Mon, 10 Braemar Road, 10am-1pm and 2pm-5pm Ballater Thurs, Fri and TelephoneOpen Tues -(01573) Sat 10 to224027 1 - 2 to 5 Sat 10.00 -5.00 AB35 5RL NEWTelephone: SHOP, (01573) DISABLED 224027 ACCESS larksgallery.com facebook/Larks Gallery 013397 55888 CHECK OUT OUR ROBERT GREENHALF OTHER TITLES opening 17th may Jane B. Gibson RMS Wild Wings Over Lonely Shores Scotland’s Premier artWORK kirsty lorenz richard bracken 7th - 29th June www.artwork.co.uk Miniture Portrait Oils and woodcuts inspired by the birds of our jim wright kirstie cohen Painter coast and wetlands by Robert Greenhalf SWLA with hand-carved birds by Michael Lythgoe. West Highland www.resipolestudios.co.uk Open Studio/Gallery Castle Gallery, 43 Castle St, Inverness, IV2 3DU 01463 729512 Wayfarer loch sunart | acharacle | argyll | scotland | ph36 4hx EVERY FRIDAY [email protected] www.westhighlandwayfarer.co.uk or by appointment any www.castlegallery.co.uk THE other time. -
Graeme Todd the View from Now Here
GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect. -
Craft Generation Booklet CLAIRE BARCLAY
CLAIRE BARCLAY Untitled Element from ‘Shadow Spans’ by Claire Barclay 2010 Shellac, calico, fur felt 22cm x 18cm x height 24cm From the installation work ‘Shadow Spans’ at The Whitechapel Gallery, London. The installation reflected on the nature of liminal spaces on the boundaries of indoors and outdoors, for example, the porch, the entrance, windows and doors, the pavement etc. The sculptural components were in some way exploring aspects of the transitions we experience between private and public space. This hat-like form suggestive of a shift from formal to informal when removed at the point of entering a building. It is also abstracted from its familiar form and so made odd and dysfunctional. 3 CLAIRE BARCLAY Where are you based? Based in Glasgow - work in the Glasgow Sculpture Studios, Glasgow Print Studio, studio at home, work with other fabricators, engineering company, saddlers, fabric printing facilities. What is your definition / the definition you prefer of craft? Craft is present in all disciplines where hand skills evolve over time through the exploration of and fascination with particular tasks, whether practical or absurd, traditional or improvised. How does craft relate to your practice as an artist? I don’t consciously think of myself as craft- ing while I am making, as I do not have a specific goal in mind. The materials and processes I use are determined more often by the context in which I am working. I try to use each project as an opportunity to learn more skills but if the skills needed are beyond my ability, I need to work in collaboration with experts in order to realize the work. -
The Magazine of the Glasgow School of Art Issue 1
Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson.