Virginia Woolf and the Hogarth Press Open Exhibition Submission Form Arts

Total Page：16

File Type：pdf, Size：1020Kb

Virginia Woolf and the Hogarth Press Open Exhibition Submission Form Arts 26 January 2016 2015 open opportunities for artists at the Riverside Gallery, Richmond run by Orleans House Gallery, Twickenham Virginia Woolf and the Hogarth Press 29 October – 10 December Deadline for submissions: Monday September 12 2016 Submissions to: Orleans House Gallery, Riverside, Twickenham, TW1 3DJ Through its annual open exhibition opportunities, Orleans House Gallery in Twickenham helps artists locally, nationally and internationally to showcase their work in group exhibitions across three gallery spaces: Orleans and Stables Galleries in Twickenham and the Riverside Gallery in Richmond. Seeking artwork in a range of media inspired by Virginia and Leonard Woolf and The Hogarth Press. In conjunction with the Richmond Literature Festival, this exhibition will celebrate a century since Virginia and Leonard Woolf began publishing in Richmond. Named after the house they moved to in 1915, they established the Hogarth Press in spring 1917, to self-publish and also to provide an important opportunity for writers and artists to showcase their work uncensored and in small print runs. Through an exploration of the Hogarth Press, its unique aesthetic and the opportunity it presented for book illustration; contemporary artists will be given the opportunity to respond to Virginia Woolf, the Press and its legacy. Artists can submit up to 5 works. Artworks must be submitted as high resolution jpeg files on a CD (please do not include a case), with accompanying A4 sized photographic prints or good quality colour printouts. Original artwork or emailed submissions will not be accepted. Please clearly label each submission with: artist’s name, title of work, date, media, approximate size and sale price (i.e. including our 40% commission + 20% VAT on the 40% commission). In addition, please enclose contact details (including email and postal address and contact telephone numbers), an artist’s statement and CV. There is a £10.00 administration charge (which also contributes towards exhibition costs); £7.50 concessions (students, retired, unwaged, benefits etc). Please include proof. Please make cheques payable to ‘L.B.R.U.T’. You can also pay by credit / debit card by calling the gallery on 020 8831 6000. Your submission will not be accepted without payment. If you would like submissions returned, please enclose a stamped self-addressed envelope or stamps to the value of posting submission. Successful artists will be contacted by email or in writing approximately 2-3 weeks after the deadline. Queries to curator Mark De Novellis at [email protected] Submission to: Orleans House Gallery, Riverside, Twickenham, TW1 3DJ Riverside Gallery, Twickenham Open Submission Form: Name (Block Capitals) Address Email address Telephone number 1 Telephone number 2 Exhibition title Number of works submitted Payment enclosed? Yes No (please tick) Details of works Title 1. 2. 3. 4. 5. Date 1. 2. 3. 4. 5 Medium 1. 2. 3. 4. 5. Size 1. 2. 3. 4. 5. Sale price 1. (including 2. the gallery 3. 40% 4. commission 5. and VAT) .

Copy Link

Recommended publications

EM Forster's Howards End and Virginia Woolfs Mrs. Dalloway
The Metropolis and the Oceanic Metaphor: E.M. Forster's Howards End and Virginia Woolfs Mrs. Dalloway Melissa Baty UH 450 / Fall 2003 Advisor: Dr. Jon Hegglund Department of English Honors Thesis ************************* PASS WITH DISTINCTION Thesis Advisor Signature Page 1 of 1 TO THE UNIVERSITY HONORS COLLEGE: As thesis advisor for Me~~'Y3 ~3 I have read this paper and find it satisfactory. 1 1-Z2.-03 Date " http://www.wsu.edu/~honors/thesis/AdvisecSignature.htm 9/22/2003 Precis Statement ofResearch Problem: In the novels Howards End by E.M. Forster and Mrs. Dalloway by Virginia Woolf, the two authors illwninate their portrayal ofearly twentieth-century London and its rising modernity with oceanic metaphors. My research in history, cultural studies, literary criticism, and psychoanalytic theory aimed to discover why and to what end Forster and Woolf would choose this particular image for the metropolis itselfand for social interactions within it. Context of the Problem: My interpretation of the oceanic metaphor in the novels stems from the views of particular theorists and writers in urban psychology and sociology (Anthony Vidler, Georg Simmel, Jack London) and in psychoanalysis (Sigmund Freud, particularly in his correspondence with writer Romain Rolland). These scholars provide descriptions ofthe oceanic in varying manners, yet reflect the overall trend in the period to characterizing life experience, and particularly experiences in the city, through images and metaphors ofthe sea. Methods and Procedures: The research for this project entailed reading a wide range ofhistorically-specific background regatg ¥9fSter, W661f~ eity of I .Q~e various academic areas listed above in order to frame my conclusions about the novels appropriately.
[Show full text]
Works on Giambattista Vico in English from 1884 Through 2009
Works on Giambattista Vico in English from 1884 through 2009 COMPILED BY MOLLY BLA C K VERENE TABLE OF CON T EN T S PART I. Books A. Monographs . .84 B. Collected Volumes . 98 C. Dissertations and Theses . 111 D. Journals......................................116 PART II. Essays A. Articles, Chapters, et cetera . 120 B. Entries in Reference Works . 177 C. Reviews and Abstracts of Works in Other Languages ..180 PART III. Translations A. English Translations ............................186 B. Reviews of Translations in Other Languages.........192 PART IV. Citations...................................195 APPENDIX. Bibliographies . .302 83 84 NEW VICO STUDIE S 27 (2009) PART I. BOOKS A. Monographs Adams, Henry Packwood. The Life and Writings of Giambattista Vico. London: Allen and Unwin, 1935; reprinted New York: Russell and Russell, 1970. REV I EWS : Gianturco, Elio. Italica 13 (1936): 132. Jessop, T. E. Philosophy 11 (1936): 216–18. Albano, Maeve Edith. Vico and Providence. Emory Vico Studies no. 1. Series ed. D. P. Verene. New York: Peter Lang, 1986. REV I EWS : Daniel, Stephen H. The Eighteenth Century: A Current Bibliography, n.s. 12 (1986): 148–49. Munzel, G. F. New Vico Studies 5 (1987): 173–75. Simon, L. Canadian Philosophical Reviews 8 (1988): 335–37. Avis, Paul. The Foundations of Modern Historical Thought: From Machiavelli to Vico. Beckenham (London): Croom Helm, 1986. REV I EWS : Goldie, M. History 72 (1987): 84–85. Haddock, Bruce A. New Vico Studies 5 (1987): 185–86. Bedani, Gino L. C. Vico Revisited: Orthodoxy, Naturalism and Science in the ‘Scienza nuova.’ Oxford: Berg, 1989. REV I EWS : Costa, Gustavo. New Vico Studies 8 (1990): 90–92.
[Show full text]
Off the Pedestal, on the Stage: Animation and De-Animation in Art
Off the Pedestal; On the Stage Animation and De-animation in Art and Theatre Aura Satz Slade School of Fine Art, University College, London PhD in Fine Art 2002 Abstract Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters i and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object’s immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated.
[Show full text]
Anon Is Not Dead: Towards a History of Anonymous Authorship in Early-Twentieth-Century Britain Emily Kopley
Document generated on 09/30/2021 7:56 p.m. Mémoires du livre Studies in Book Culture Anon is Not Dead: Towards a History of Anonymous Authorship in Early-Twentieth-Century Britain Emily Kopley Générations et régénérations du livre Article abstract The Generation and Regeneration of Books In 1940, Virginia Woolf blamed the printing press for killing the oral tradition Volume 7, Number 2, Spring 2016 that had promoted authorial anonymity: “Anon is dead,” she pronounced. Scholarship on the printed word has abundantly recognized that, far from URI: https://id.erudit.org/iderudit/1036861ar being dead, Anon remained very much alive in Britain through the end of the DOI: https://doi.org/10.7202/1036861ar nineteenth century. Even in the twentieth century, Anon lived on, among particular groups and particular genres, yet little scholarship has addressed this endurance. Here, after defining anonymity and sketching its history in the See table of contents late nineteenth and early twentieth century, I offer three findings. First, women had less need for anonymity as they gained civil protections elsewhere, but anonymity still appealed to writers made vulnerable by their marginalized Publisher(s) identities or risky views. Second, in the early twentieth century the genre most likely to go unsigned was autobiography, in all its forms. Third, on rare Groupe de recherches et d’études sur le livre au Québec occasions, which I enumerate, strict anonymity achieves what pseudonymity cannot. I conclude by suggesting that among British modernist authors, the ISSN decline of practiced anonymity stimulated desired anonymity and the prizing 1920-602X (digital) of anonymity as an aesthetic ideal.
[Show full text]
The Posthumanistic Theater of the Bloomsbury Group
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group Christina A. Barber IDSVA Follow this and additional works at: https://digitalmaine.com/academic Recommended Citation Barber, Christina A., "In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group" (2019). Academic Research and Dissertations. 29. https://digitalmaine.com/academic/29 This Text is brought to you for free and open access by the Maine State Library Special Collections at Digital Maine. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Digital Maine. For more information, please contact [email protected]. IN THE MOUTH OF THE WOOLF: THE POSTHUMANISTIC THEATER OF THE BLOOMSBURY GROUP Christina Anne Barber Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty at the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Simonetta Moro, PhD Director of School & Vice President for Academic Affairs Institute for Doctoral Studies in the Visual Arts Committee Member: George Smith, PhD Founder & President Institute for Doctoral Studies in the Visual Arts Committee Member: Conny Bogaard, PhD Executive Director Western Kansas Community Foundation iii © 2019 Christina Anne Barber ALL RIGHTS RESERVED iv Mother of Romans, joy of gods and men, Venus, life-giver, who under planet and star visits the ship-clad sea, the grain-clothed land always, for through you all that’s born and breathes is gotten, created, brought forth to see the sun, Lady, the storms and clouds of heaven shun you, You and your advent; Earth, sweet magic-maker, sends up her flowers for you, broad Ocean smiles, and peace glows in the light that fills the sky.
[Show full text]
Inventory Acc.3721 Papers of the Scottish Secretariat and of Roland
Inventory Acc.3721 Papers of the Scottish Secretariat and of Roland Eugene Muirhead National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Summary of Contents of the Collection: BOXES 1-40 General Correspondence Files [Nos.1-1451] 41-77 R E Muirhead Files [Nos.1-767] 78-85 Scottish Home Rule Association Files [Nos.1-29] 86-105 Scottish National Party Files [1-189; Misc 1-38] 106-121 Scottish National Congress Files 122 Union of Democratic Control, Scottish Federation 123-145 Press Cuttings Series 1 [1-353] 146-* Additional Papers: (i) R E Muirhead: Additional Files Series 1 & 2 (ii) Scottish Home Rule Association [Main Series] (iii) National Party of Scotland & Scottish National Party (iv) Scottish National Congress (v) Press Cuttings, Series 2 * Listed to end of SRHA series [Box 189]. GENERAL CORRESPONDENCE FILES BOX 1 1. Personal and legal business of R E Muirhead, 1929-33. 2. Anderson, J W, Treasurer, Home Rule Association, 1929-30. 3. Auld, R C, 1930. 4. Aberdeen Press and Journal, 1928-37. 5. Addressall Machine Company: advertising circular, n.d. 6. Australian Commissioner, 1929. 7. Union of Democratic Control, 1925-55. 8. Post-card: list of NPS meetings, n.d. 9. Ayrshire Education Authority, 1929-30. 10. Blantyre Miners’ Welfare, 1929-30. 11. Bank of Scotland Ltd, 1928-55. 12. Bannerman, J M, 1929, 1955. 13. Barr, Mrs Adam, 1929. 14. Barton, Mrs Helen, 1928. 15. Brown, D D, 1930.
[Show full text]
Virginia Woolf, Arnold Bennett, and Turn of the Century Consciousness
Colby Quarterly Volume 13 Issue 1 March Article 5 March 1977 The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn of the Century Consciousness Edwin J. Kenney, Jr. Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 13, no.1, March 1977, p.42-66 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Kenney, Jr.: The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn of the The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn ofthe Century Consciousness by EDWIN J. KENNEY, JR. N THE YEARS 1923-24 Virginia Woolf was embroiled in an argument I with Arnold Bennett about the responsibility of the novelist and the future ofthe novel. In her famous essay "Mr. Bennett and Mrs. Brown," she observed that "on or about December, 1910, human character changed";1 and she proceeded to argue, without specifying the causes or nature of that change, that because human character had changed the novel must change if it were to be a true representation of human life. Since that time the at once assertive and vague remark about 1910, isolated, has served as a convenient point of departure for historians now writing about the social and cultural changes occurring during the Edwardian period.2 Literary critics have taken the ideas about fiction from "Mr. Bennett and Mrs. Brown" and Woolfs other much-antholo gized essay "Modern Fiction" as a free-standing "aesthetic manifesto" of the new novel of sensibility;3 and those who have recorded and discussed the "whole contention" between Virginia Woolf and Arnold Bennett have regarded the relation between Woolfs historical observation and her ideas about the novel either as just a rhetorical strategy or a generational disguise for the expression of class bias against Bennett.4 Yet few readers have asked what Virginia Woolf might have nleant by her remark about 1910 and the novel, or what it might have meant to her.
[Show full text]
6Landscapes of Eden and Hell in the Modem Scottish Novel’
UNIVERSITY OF GLASGOW DEPARTMENT OF SCOTTISH LITERATURE A thesis submitted for the degree of Master of Philosonhv 6Landscapes of Eden and Hell in the Modem Scottish Novel’ LEAH N. RANKIN JUNE 2002 SUPERVISED BY DR GERARD CARRUTHERS ProQuest Number: 13818809 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 13818809 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 \1S&1 g o p H \ Landscapes of Eden and Hell in the Modern Scottish Novel CONTENTS Abstract i Acknowledgements ii 1 Introduction: ‘Landscapes of Eden and Hell: The Kailyard and the Real Scotland’ 1 -2 4 2 George Douglas Brown: ‘From Idylls to Nightmares: Uprooting the Kailyard’ 25 - 45 3 Catherine Carswell: ‘Closed Doors and Caged Birds: False Edens in Scotland and Beyond’ 46 - 69 4 Willa Muir: ‘Hell-fire and Water: Examining the Elements of Calderwick’ 70 - 95 5 J.M. Barrie: ‘The Purgatory of Scotland: A Final Farewell to the Kailyard’ 96 - 123 6 Robin Jenkins: ‘The Regeneration of Good and Evil: The Garden of Eden Stripped Bare’ 124 - 142 Conclusion 143 - 146 Bibliography 147 - 155 Landscapes of Eden and Hell in the Modern Scottish Novel ABSTRACT The following thesis examines the portrayal in a number of modem Scottish novels of Edenic and hellish landscapes, these depictions being primarily connected with the effect of Calvinism on the Scottish mentality.
[Show full text]
“Fine-Tuned Critical Savvy” “Fills Many Scholarly Gaps”
“For those who are not satisfied with clichés” —the Italian daily il Giornale “enlightening” “exciting” —American Literary Scholarship —Women: A Cultural Review “fine-tuned critical savvy” —The London Magazine “impressive breadth” “a tour de force” —The Times Literary Supplement —Philadelphia Stories “fills many scholarly gaps” — H-France Review “very fulfilling” “great achievement” —The Poet and the Poem, — American Literary Scholarship a Library of Congress podcast About Clemson University Press Through its innovative partnership with Liverpool University Press, Clemson University Press is a global ambassador for Clemson University, distributing increasingly diverse and impactful scholarship worldwide. We publish books and scholarly journals by authors from around the globe, with particular strengths in nineteenth- and twentieth-century literature and the arts, Irish literature and culture, African American literature, and music. We also publish books of regional interest, including the official histories of Clemson University. Titles published by Clemson University Press have been reviewed in venues such as The Times Literary Supplement and The London Magazine, and they have been featured in the media on shows such as NPR’s Here & Now, PBS NewsHour, and on the Library of Congress’s podcast. Our books have earned major awards and prize nominations, including The Council for Ad- vancement and Support of Education’s highest honor and a nod from American Illustration. At Clemson University Press, we strive to foreground the reputation of Clemson University as a center for research and culture by publishing impactful work in our areas of specialization. Learn more at www.clemson.edu/press. GASTRO-MODERNISM Contributors Tomoko Aoyama • Clint Burnham • Gregory Castle • Peter Childs • Edwige Crucifix • Michel Delville • Derek Gladwin • Vivian N.
[Show full text]
Scottish Poetry 1974-1976 Alexander Scott
Studies in Scottish Literature Volume 13 | Issue 1 Article 19 1978 Scottish Poetry 1974-1976 Alexander Scott Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Scott, Alexander (1978) "Scottish Poetry 1974-1976," Studies in Scottish Literature: Vol. 13: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol13/iss1/19 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Alexander Scott Scottish Poetry 1974-1976 For poetry in English, the major event of the period, in 1974, was the publication by Secker and Warburg, London, of the Com plete Poems of Andrew Young (1885-1971), arranged and intro duced by Leonard Clark. Although Young had lived in England since the end of the First World War, and had so identified himself with that country as to exchange his Presbyterian min istry for the Anglican priesthood in 1939, his links with Scotland where he was born (in Elgin) and educated (in Edin burg) were never broken, and he retained "the habit of mind that created Scottish philosophy, obsessed with problems of perception, with interaction between the 'I' and the 'Thou' and the 'I' and the 'It,."l Often, too, that "it" was derived from his loving observation of the Scottish landscape, to which he never tired of returning. Scarcely aware of any of this, Mr. Clark's introduction places Young in the English (or Anglo-American) tradition, in "the field company of John Clare, Robert Frost, Thomas Hardy, Edward Thomas and Edmund Blunden ••• Tennyson and Browning may have been greater influences." Such a comment overlooks one of the most distinctive qualities of Young's nature poetry, the metaphysical wit that has affinities with those seven teenth-century poets whose cast of mind was inevitably moulded by their religion.
[Show full text]
Virginia Woolf Miscellany, Issue 62, Spring 2003
NUMBER 62 SPRING 2003 Letter to the Readers: Reader” as well as reviews of books by Jessica Berman, Donald J. Childs, Katherine Dalsimer, and David Ellison. “Never has there been such a time. Last week end we were at Charleston and very gloomy. Gloom increased on Monday. In London it was hectic and gloomy and at the same time This issue of the Virginia Woolf Miscellany represents a new phase in the history of despairing and yet cynical and calm. The streets were crowded. People were everywhere talking this publication. The Miscellany has moved across the country from sunny Sonoma loudly about war. There were heaps of sandbags in the streets, also men digging trenches, lorries to snowy New Haven, from a California State University to a Connecticut State delivering planks, loud speakers slowly driving and solemnly exhorting the citizens of Westminster Go and fit your gas masks. There was a long queue of people waiting outside the Mary Ward University. After nearly 30 years of publishing this small but vital periodical, J.J. settlement to be fitted. [W]e sat and discussed the inevitable end of civilization. [Kingsley Wilson has handed the torch to a new editorial board. The publication itself has a Martin] said the war would last our life time[.] . Anyhow, Hitler meant to bombard London, new future as a soon-to-be subscription periodical with a web presence. Members of probably with no warning; the plan was to drop bombs on London with twenty minute intervals the International Virginia Woolf Society will continue to receive the Miscellany as a for forty eight hours.
[Show full text]
Plants and the Paranormal
University of Northern Iowa UNI ScholarWorks CSBS INSPIRE Student Research & Engagement 2020 INSPIRE Student Research & Engagement Conference Showcase Apr 17th, 12:00 PM - 4:00 PM Plants and the Paranormal Natalie Aird University of Northern Iowa Ellie Wigginton University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2020 Natalie Aird Follow this and additional works at: https://scholarworks.uni.edu/csbsresearchconf Recommended Citation Aird, Natalie and Wigginton, Ellie, "Plants and the Paranormal" (2020). CSBS INSPIRE Student Research & Engagement Conference. 20. https://scholarworks.uni.edu/csbsresearchconf/2020/all/20 This Open Access Poster Presentation is brought to you for free and open access by the Conferences/Events at UNI ScholarWorks. It has been accepted for inclusion in CSBS INSPIRE Student Research & Engagement Conference by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. KEW GARDENS, LONDON, ENGLAND NATALIE AIRD -AND- ELLIE WIGGINTON BRIEF HISTORY SUPERNATURAL OCCURRENCES ALIENS AT KEW OUR TIME AT KEW GARDENS Kew Gardens is located in the borough Richmond upon Thames. According to an article on Kew’s website, there are several In 2002, a giant crop circle in the center of a wheatﬁeld We visited Kew Gardens on Sunday, June 16th. Fortunately, we The site was originally a royal estate acquired by Frederick Louis, supernatural things that have happened at the Royal Botanic appeared. It was perfectly symmetrical and roughly 60 feet wide were able to enjoy a sunny day at Kew! Our ﬁrst stop was the Prince of Wales, in 1731. His wife, Princess Augusta established Gardens.
[Show full text]