Reginald Macdonald Born 1992 in Edmonton, Canada Moved to Scotland 2005 Regsculptor@Gmail.Com

Total Page：16

File Type：pdf, Size：1020Kb

Reginald Macdonald Born 1992 in Edmonton, Canada Moved to Scotland 2005 Regsculptor@Gmail.Com

Reginald MacDonald Born 1992 in Edmonton, Canada moved to Scotland 2005 www.reginaldmacdonald.com regsculptor@gmail.com Education The Glasgow School of Art, BA (Hons) Fine Art 2010 - 2014 The Florence Academy of Art (summer sculpture course) 2014 Awards 2014 The Benno Schotz Prize for Sculpture (Awarded by The Glasgow School of Art) The Phoenix Bursary (Awarded by The Glasgow School of Art) Memberships The Glasgow Art Club The Occident Club Collections The Glasgow School of Art - Apollo (After Despiau) The Writers' Museum Edinburgh - Chair of Imprisoned Writers Exhibitions 2016 Members & Guests Exhibition, The Glasgow Art Club 2015 Members' Winter Exhibition, The Glasgow Art Club The Phoenix Bursary Exhibition, The Reid Building Art for Care Exhibition, The Glasgow Art Club 2014 Endurance Exhibition, Govanhill Baths Drawing Exhibition, Wimbledon College of Arts Degree Show / Fine Art Showcase, Glasgow School of Art End The Stigma, The Old Hairdressers The Presences of 4, The Old Hairdressers: Perfect Girlfriends Pt. 2, Glasgow School of Art 2013 Thanks Loads, Glasgow School of Art Year 3 Sculpture, Grace & Clarke Fyfe Gallery 2012 Scottish Circle Exhibition, Wilson Davis Fine Art Gallery: End of Term Show, Glasgow School of Art REAL Exhibition, Glasgow School of Art 2010 Imprisoned Writers Exhibition, The Writers Museum Edinburgh Residencies Sept - Dec 2013 Art Workshop Leader Drawing for Sculpture, Lomond School, Scotland June - Sept 2013 Studio Assistant, Clayworks Studio Link, Canada Sept - June 2010 Imprisoned Writers Project with: Scottish Pen - Writers Association, Lomond School, Drew Cambpell, Laura Shand, Fiona Hunter, Edinburgh, Scotland / Oslo, Sweden Published Work 2014 Hannibal issue 3 of PLASTIK magazine UK SHE GODS (Fashion Editorial) issue 21 of Dark Beauty Magazine USA .

Copy Link

Recommended publications

Setting the Scene
OCTOBER/NOVEMBER 2017 SCOTLAND & NORTHEAST ENGLAND art • craft • design CRAFT & DESIGN HAND-MADE FOR YOU & YOUR HOME ARTSPEAK TALK ABOUT GIVING ART A BAD NAME Art books Setting READ ALL ABOUT IT! the Scene SCENIC ARTISTS - ART’S UNSUNG HEROES ARTTRAVEL & SOUTH TYROL’S WANDERING SPIRITS AUCTION HOUSES ArtKEEPING YOU News IN THE PICTURE GOING, GOING... TICKETS TO: EDINBURGH ART FAIR PRIVATE PREVIEW!...HANDMADE EDINBURGH WIN! OPENING NIGHT PREVIEW!...CHRISTMAS AT THE BOTANICS EXCLUSIVE PREVIEW! Art Magazine 195x255mm.qxp_Layout 1 01/08/2017 14:15 Page 1 The Contemporary Craft and Design Fair Handmade 17 watch this space 27-29 Oct 2017 The Hub, Edinburgh Gallery opening 7 October 2017 For tickets and information: handmadeinbritain.co.uk/edinburgh Free entry @handmadebritain #HandmadeEdinburgh Mon - Sat, 10am - 5pm hattongallery.org.uk Save 30% on tickets by booking in advance, quote ‘ ’ by 26 October King’s Road, Newcastle University ARTMAG17 Haymarket Interchange Edinburgh 17 ArtMag Advert.indd 1 11/09/2017 16:42 The Contemporary Craft and Design Fair Handmade 17 27-29 Oct 2017 The Hub, Edinburgh For tickets and information: handmadeinbritain.co.uk/edinburgh @handmadebritain #HandmadeEdinburgh Save 30% on tickets by booking in advance, quote ‘ARTMAG17’ by 26 October Edinburgh 17 ArtMag Advert.indd 1 11/09/2017 16:42 THE WORLD’S LARGEST SELLER OF SCOTTISH PAINTINGS * PETER HOWSON OBE, WILLIAM STRANG RA RP RE, ‘David Bowie - The Ninth Drawing’ mixed media, THE LADY WITH THE PINK FEATHERED HAT signed and dated 1994, 31cm x 23cm oil on canvas, signed and dated 1912, 75cm x 62cm Sold £9,500 (world record for a drawing by the artist) Sold £16,000 (world record for the artist) McTear’s stage The Scottish Contemporary Art Auctions every five weeks and The Scottish Pictures Auctions (for non contemporary paintings) every ten weeks.
[Show full text]
Honorary Graduates
Honorary Graduates (Chronological list) The names of deceased graduates are printed in italics. Master of Arts (MA) George Harris Thomson, Secretary-Treasurer of the Royal College of Science and Technology from 1947 to 1964, Registrar of the University from 1964 to 1966 July 1966 Charles Geoffrey Wood, University Librarian March 1967 William B Paton, County Librarian, Lanarkshire - First Head of the Scottish School of Librarianship, Scottish College of Commerce, 1946-50 April 1972 Gustav Heiberg, Chief of Division, Norwegian Ministry of Foreign Affairs July 1975 Charles Stewart, formerly Depute Bursar (Finance) in the University Administration Oct 1975 Louis McGougan, Bursur of the University of Strathclyde March 1976 Duncan Matheson, formerly Director of Physical Education in the University July 1983 Walter Underwood, formerly Planning Consultant to the University July 1983 Zbigniew Byszewski, former Consul-General for Poland in Scotland June 1986 John Turner, Organist to the University and Glasgow Cathedral July 1990 Susan Wighton, who worked as a nurse in Palestinian refugee camps July 1990 Andrew Miller, Director of Libraries, City of Glasgow District Council July 1990 Tommy Orr, former University Security Controller July 1990 James Arnold, Director and Village Manager, Lanark New Town Nov 1990 Graham Douglas, Draughtsman, Royal Commission on Ancient Building and Historical Monuments of Scotland July 1992 Yvonne Carol Grace Murray, Athlete May 1995 Master of Science (MSc) Ronald Ewart Nicoll, Professor of Urban Planning March 1967
[Show full text]
Children in Art Children in Art Senior Phase | Teacher’S Notes
SENIOR PHASE CHILDREN IN ART CHILDREN IN ART SENIOR PHASE | TEACHER’S NOTES creative thinking at aberdeen art gallery How to use the teacher’s notes Welcome. This pack has been put together by our experienced learning team to help In order to make these notes work for you, we have chosen artworks and activities that are age appropriate. you explore the building and the collection with your pupils. Every artwork tells a Primary is divided in to Lower and Upper and Secondary is story, giving an insight into a particular culture, society or time in history. Exploring divided in to Junior and Senior phase. the collection will encourage curiosity, imagination and problem solving. This resource provides you with suggested activities and background information on selected artworks. There are six themes that will direct you to at least three gallery spaces, but you can of course look at more artworks About Aberdeen Art Gallery Before your visit along the way. The opening of Aberdeen Art Gallery on 7 July 1885 You may want to begin with a picture of Aberdeen Art As these teacher’s notes will be available to download was made possible by financial contributions from local Gallery and ask your learners to set some questions about from our website, some images of the artworks are businessmen including granite and flour merchants, the gallery and what they might see there. copyright protected and cannot be included in the pack. art collectors and civic-minded individuals. The people This will help to de-mystify what an art gallery is, who who paid for this building also donated many of the Visit our website at www.aagm.co.uk to see images of it’s there for and hopefully have them looking forward older paintings that you see on display today.
[Show full text]
University of Strathclyde Calendar 2010-11 Part 1 General Regulations
University of Strathclyde Calendar 2010-11 Part 1 General Regulations ISBN 1 85098 590 2 ISSN 0305-3180 © University of Strathclyde 2010 The University of Strathclyde is a registered trademark The Calendar is published on-line in four parts: Part 1 contains the University Charter, Statutes and Ordinances, together with Regulations 1-7 and an Appendix (History of the University, Armorial Bearings, University Chairs and Honorary Graduates). Part 2 contains Regulations 15-17 covering the course regulations for undergraduate and integrated master’s degrees of the four Faculties and elective classes. Part 3 contains Regulations 19-30 covering the postgraduate, continuing education, sub-degree courses and prize regulations of the four Faculties. This edition of the Calendar is as far as possible up to date and accurate at 15 August 2010. Changes and restrictions are made from time to time and the University reserves the right to add, amend or withdraw courses and facilities, to restrict student numbers and to make any other alterations, as it may deem necessary and desirable. Changes are published by incorporation in the next edition of the University Calendar. Any queries about the contents of the University Calendar should be directed to the Editor of the University Calendar, Corporate Services, University of Strathclyde, Glasgow G1 1XQ (Telephone 0141 548 4967). Official Publications Annual Report The University Review is available free of charge from The Publications Officer, University of Strathclyde, 16 Richmond Street, Glasgow G1 1XQ
[Show full text]
Paisley: the Untold Story
Paisley Town Centre Asset Strategy & Action Plan 2014 SHORTLISTED This strategy was prepared for Renfrewshire Council by SLR Consulting Ltd in association with Britton McGrath Associates, Mike Nevin Associates, Fitzgerald & Hanna Architects and David Humphries and Associates. Shawl from Paisley Museum collection. PAISLEY THE UNTOLD STORY Paisley Town Centre Asset Strategy & Action Plan PAISLEY THE UNTOLD STORY Paisley Town Centre Asset Strategy & Action Plan 4 5 PAISLEY TOWN CONTENTS CENTRE ASSET STRATEGY AIMS TO ‘TELL THE STORY’ 1 PAISLEY - THE UNSOLD STORY 1.1 INTRODUCTION 14 1.2 A BRIEF HISTORY OF PAISLEY - KEY THEMES 15 OF PAISLEY’S PROUD 2 PRIORITY HERITAGE ASSETS 2.1 MUSEUM AND ART GALLERY 22 2.2 CENTRAL LIBRARY 28 PAST TO VISITORS 2.3 COATS OBSERVATORY 29 2.4 THOMAS COATS MEMORIAL CHURCH 30 2.5 THE TOWN HALL 31 2.6 PAISLEY ABBEY 32 FROM ACROSS 2.7 THE ALEXANDER STODDART COLLECTION 33 3 PEOPLE POWER AND CULTURAL ASSETS THE WORLD. 3.1 THE PERFORMANCE ARTS 36 3.2 SOCIAL ASSETS 36 3.3 PHYSICAL ASSETS AND PERFORMANCE SPACE 37 3.4 PEOPLE AND ORGANISATIONS 39 4 POTENTIAL MARKET SIZE AND AUDIENCE DEVELOPMENT 4.1 INTRODUCTION 42 4.2 EXISTING AUDIENCES 42 4.3 MARKET SIZE 49 4.4 AUDIENCE DEVELOPMENT RESEARCH 62 5 THE ASSET STRATEGY 5.1 AN APPROACH TO AUDIENCE DEVELOPMENT 74 5.2 THE VISION FOR PAISLEY 77 5.3 STRATEGIC OBJECTIVES 77 5.4 KEY PROJECTS 85 5.5 THE SPATIAL STRATEGY 88 5.6 THE ACTION PLAN 95 APPENDIX 1 ASSET STRATEGY STUDY AREA 100 APPENDIX 2 HERITAGE ASSET REGISTER 102 APPENDIX 3 EVENTS AND FESTIVALS 122 APPENDIX 4 ACTION PLAN AND
[Show full text]
Glasgow’S Architecture and Built Heritage
12 — 18 SEPT 2016 A celebration of Glasgow’s architecture and built heritage ALL EVENTS FREE GLASGOW 114 BUILDINGS • 51 WALKS & TOUrs • TALKS • SPECIAL EVENTS • CHILDREN’S ACTIVITIES In association with: glasgowdoorsopendays.com THINGS TO KNOW Details in this brochure were correct at the time of going to print, PHOTOGRAPHY but the programme is subject to change. For updates please check COMPETITION WIN glasgowdoorsopendays.com, sign up to PRIZES! H E our e-bulletin and follow our social media. GlasgowDoorsOpenDays GlasgowDOD GlasgowDoorsOpenDays TIMINGS Check individual listings for opening hours and event times. Send us your photos of AccESS L L O Due to their historic or unique nature, Doors Open Days 2016 we regret that some venues are not fully accessible. Access is indicated in each and win some fantastic listing and in more detail on our website. prizes! FOR THE faMILY Glasgow Doors Open Days is The majority of buildings and events are fun for children and we’ve highlighted back for the 27th year, celebrating key family activities on page 34. We’ve CATEGORIES also put together a dedicated children’s Inspired by Mackintosh | People and Place | Glasgow’s unique architecture programme which will be distributed to Architectural Detail | Cityscape | Behind the Scenes and built heritage! This year Glasgow primary schools in late August. YOU COULD WIN VOLUNTEERS – £250 voucher to spend at Glasgow Architectural Salvage we’re part of the national Festival Doors Open Days is made possible – A year’s subscription to Scots Heritage Magazine
[Show full text]
Scotland: Building for the Future
Scotland: Building for the Future Scotland: Building for the Future In post-war Scotland there was a belief among key decision-makers that the world could be made better by design. New homes, schools and churches – even entire new towns – could be planned, designed and built for the benefit of all. Modernism in architecture and design were closely linked with this widespread faith in reconstruction. Architects and architecture were at the centre of this national effort, as they had been for at least 250 years. Scotland had specialised in new towns and a ‘rational’ approach to development and improvement, and there is a strong echo of the work of Robert Adam and Edinburgh New Town in the ‘age of improvement’ of the post-war period. Scotland: Building for the Future Essays on the architecture of the post-war era ISBN 978-1-84917-014-7 HISTORIC SCOTLAND FRONT COVER Hutchesontown B, Gorbals, perspective sketch of second development area, Robert Matthew Johnson-Marshall and Partners, 1958. © RMJM BACK COVER The Scottish Poetry Library, Edinburgh, Malcolm Fraser, 1999. © Malcolm Cooper H1.575 The House 3/09 Produced from sustainable material Scotland: Building for the Future Scotland: Building for the Future Essays on the architecture of the post-war era HISTORIC SCOTLAND iv | SCOTLAND: BUILDING FOR THE FUTURE Acknowledgments The text for this book was prepared by Malcolm Cooper, Ranald MacInnes, Deborah Mays, Dawn McDowell and Miles Oglethorpe with research assistance from Rohan Banyard, David Fleetwood, Pauline Megson, Laurence Parkerson, Dara Parsons, Joan Richardson, and Norma Smith. Illustrations were researched by Rohan Banyard and David Fleetwood, with the assistance of Michelle Andersson.
[Show full text]
The Scottish Jewish Archives Centre: 30 Years of Preserving the Records of an Immigrant Community
SCOTTISH ARCHIVES 2016 Volume 22 © The Scottish Records Association Around the Archives The Scottish Jewish Archives Centre: 30 Years of Preserving the Records of an Immigrant Community Harvey L. Kaplan It is 200 years since the first Jewish community was established in Scotland and almost 30 years since the establishment of the Scottish Jewish Archives Centre (SJAC).1 An organisational member of the Scottish Council on Archives, SJAC has created a collection of national significance which aims to document and illustrate the Jewish experience in Scotland. It is involved in collecting and preserving related records, looking at religious, organisational, social, economic, political, cultural and family life, as well as placing the Jewish story against the background of Scottish history and society. The Centre provides a research facility and an educational resource for the Jewish and also the wider community, in order to heighten awareness of the Jewish heritage in Scotland and to stimulate study of the history of the Jews in this country. SJAC’s collection continues to grow, week on week, and now constitutes an impressive record of an immigrant community, showing how Jewish people came here to make a new and better life, and how they made a contribution to Scottish society, economy and cultural life. The collection includes: • Records of Jewish organisations in Scotland such as synagogue registers, minute books, correspondence, annual reports, membership lists, brochures, magazines and newsletters relating to congregations, charity organisations, friendly societies, cultural groups, youth groups, political groups and politicians, and educational institutions (see Plates 1 and 2). These include, for example, complete archives of Garnethill Hebrew Congregation, the Jewish Lads and Girls’ Brigade, Lodge Montefiore, Glasgow Hebrew Burial Society and Glasgow Jewish Representative Council.
[Show full text]
Art & Design Collections
Art & Design Collections 1 Introduction Glasgow Museums’ art collection is one of the finest in the UK. It consists of some 60,000 objects covering a wide range of media including paintings, drawings, prints, sculpture, metalwork, ceramics, glass, jewellery, furniture and textiles. It provides a comprehensive overview of the history of European art and design and includes masterpieces by major artists such as Rembrandt, Van Gogh, Whistler and Dali. The art from non-European cultures includes an internationally renowned collection of Chinese art. The development of the art collections began with the bequest in 1854 of 510 paintings by the Glasgow coachbuilder Archibald McLellan. He was a prolific collector of Italian, Dutch and Flemish art and his bequest included gems such as works by Botticelli and Titian. Other gifts and bequests followed, such as the collection of 70 paintings formed by the portraitist John Graham-Gilbert, which included Rembrandt’s famous Man in Armour. Glasgow’s massive expansion in the late nineteenth century saw the rise of an industrial elite who developed a taste for collecting art. Many were extremely discerning and knowledgeable and their gifts now form the backbone of the art collection. William McInnes, a shipping company owner, had a particular fondness for French art. His bequest in 1944 of over 70 paintings included work by Degas, Monet, Van Gogh, and Picasso. However, the greatest gift undoubtedly came from the shipping magnate Sir William Burrell. His collection of nearly 9,000 objects included a vast array of works of all periods from all over the world, including important medieval tapestries, stained glass, English oak furniture, European paintings and sculpture and important collections of Chinese and Islamic art.
[Show full text]
Portrait Prowl
PORTRAIT PROWL PRESENTED BY DR CHARLES WATERSTON FRSE Portraits in oils, Busts and Statuettes on display in the Rooms of the Royal Society of Edinburgh *ATIYAH, SIR MICHAEL FRANCIS (1929– ) Portrait by Juliet Wood, 2007 One of the world’s greatest mathematicians, Sir Michael Atiyah has had a profound and beneficial effect on the development of mathematics and science, both in the UK and in Europe. One of the pioneers of K-theory, he was knighted in 1983 and received the Order of Merit in 1993. He was Master of Trinity College, Cambridge from 1990 to 1997, and served as President of the Royal Society, London from 1990 to 1995 (exactly one hundred years after William Thomson, Lord Kelvin, President of the Royal Society 1890–95). Elected an Honorary FRSE in 1985, Sir Michael served as RSE President from 2005 to 2008. He is only the second person ever to have been sometime President of both the Royal Society of Edinburgh and the Royal Society in London – the first being Lord Kelvin. During his Presidency of the RSE, Sir Michael was the driving force behind the commissioning of the James Clerk Maxwell statue, which now stands at the east end of George Street. This portrait was commisioned by the RSE’s Council, and unveiled by Lord Mackay of Clashfern on 5 June 2007. A small version was bought by the Scottish National Portrait Gallery. BARTHOLOMEW, JOHN GEORGE (1860–1920) Sketch portrait (c.1910) in oils by Edward Arthur Walton, presented by the artist's son Professor John Walton, FRSE, in 1954.
[Show full text]
GAC-Newsletter-35.Pdf
Nane the waur o’ a guid hanging By John Fowler The scene in the Gallery on Wednesday morning, March 30, was animated. Paintings were everywhere, some lying face up on the floor, others THE NEWSLETTER OF THE GLASGOW ART CLUB SPRING 2011 No. 35 stacked randomly in a pile against the walls, one or two placed face down on the tables as members of the hanging President’s column team performed some basic DIY work on the frames with pliers, screwdrivers and awls. A toolbox was a vital component. Lunch, People were busy with measuring tape, fixing hooks into the frames. ‘Anyone got the sellotape?’ someone called. And – ‘Where are all the listen screws? They keep walking.’ Jennifer (above) prepares to hang a picture, The enthusiastic team were setting up while Ronnie and Robert (top right) take the members’ spring show. The down a banner from the previous show Newsletter’s observer arrived shortly and enjoy! Above, the Edington Ensemble with the Art Club’s Iain McGlashan – and (right) the after half-past ten to find the team pre-concert lunchtime scene in the Dining Room hard and work and about a dozen Dear Members pictures already hanging in a row - not An invariable response from the musicians in their final position, but merely as a guideline. who play in our Gallery is how grateful the Then came the difficult choice: acoustics are and how appreciative they are making a pleasing alternation between at being given the opportunity to play in large and small works, finding such magnificent surroundings. sequences or patterns or contrasts in Delny makes an adjustment On Sunday April 10 the Edington Ensemble size or subject.
[Show full text]
Exhibiting Jewish Culture in Postwar Britain: Glasgow's 1951 Festival of Jewish Arts
Spiro, M. (2019) Exhibiting Jewish culture in Postwar Britain: Glasgow's 1951 Festival of Jewish Arts. Shofar, 37(3), pp. 95-130. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/180719/ Deposited on: 4 March 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk 1 Exhibiting Jewish Culture in Post-War Britain: Glasgow’s 1951 Festival of Jewish Arts Mia Spiro, University of Glasgow, mia.spiro@glasgow.ac.uk Bio: Dr. Mia Spiro is Lecturer in Jewish Studies in the School of Critical Studies at the University of Glasgow. She is the author of Anti-Nazi Modernism: The Challenges of Resistance in 1930s Fiction (Northwestern University Press, 2013) and co-editor of Jewish Migration in Modern Times: The Case of Eastern Europe (Routlege, 2019), with Semyon Goldin and Scott Ury. Spiro has published widely on Jewish representation and responses to antisemitism in art and literature of the interwar period and in contemporary Holocaust fiction. She is co- investigator, with Dr. Hannah Holtschneider of the AHRC funded project Jewish Lives/Scottish Spaces. Abstract The Festival of Jewish Arts in Glasgow was the first and largest Jewish festival in Britain, conceived as a response to, and timed to coincide with, the Festival of Britain in 1951. Held at Glasgow’s McLellan Galleries on Sauchiehall Street from 4-25 February 1951, the event showcased works from over fifty internationally renowned Jewish artists, antiquities dating back from the 13th century, musical performances, films, lectures, a book display and a run of sell-out performances of S.
[Show full text]