Insiders/Outsiders Festival Selected Programme Highlights (Full Programme of Over 100 Events At
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Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
Grayson Perry
GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art -
Međunarodne-Studije-2018.Pdf
Međunarodne studije International Studies godina 18, broj 1–2, 2018. volume 18, number 1–2, 2018 ISSN 1332-4756 (Print) ISSN 2459-623X (Online) MEĐUNARODNE STUDIJE 18 (1-2), 2018. Nakladnik Libertas međunarodno sveučilište Glavni urednik Vladimir Filipović Izvršni urednik Josip Lučev Tajnik časopisa Bruno Korea Gajski Uredništvo Sonja Brlečić Valčić Stipe Buzar Ivan Grdešić Ivan Miloloža Jadranka Polović Uredničko vijeće Luka Brkić, Fakultet političkih znanosti Sveučilišta u Zagrebu Tvrtko Jakovina, Filozofski fakultet Sveučilišta u Zagrebu Tvrtko Jolić, Institut za filozofiju, Zagreb Đana Luša, Fakultet političkih znanosti Sveučilišta u Zagrebu Josip Mihaljević, Hrvatski institut za povijest, Zagreb Petar Popović, Fakultet političkih znanosti Sveučilišta u Zagrebu Međunarodno uredničko vijeće Nerzuk Ćurak, Univerzitet u Sarajevu, Bosna i Hercegovina Jacob Dahl Rendtorff, Roskilde University, Danska Ivan Dodovski, University American College Skopje, Sjeverna Makedonija Josip Glaurdić, University of Luxembourg, Luksemburg Bogomir Kovač, Univerza v Ljubljani, Slovenija Andrej Krickovic, National Research University Moscow, Rusija Andreas Nölke, Goethe University Frankfurt, Njemačka Stefano Pilotto, Univerity of Trieste, Italija Costas Stratilatis, University of Nicosia, Cipar Časopis je referiran u: ProQuest Worldwide Political Science Abstracts, Sociological Abstract, Social Services Abstracts HRČAK – Portal znanstvenih časopisa Republike Hrvatske (MZOŠ, Srce & HIDD) INTERNATIONAL STUDIES 18 (1-2), 2018. Publisher Libertas International -
NMDC Response to the Culture, Media and Sport Select Committee Inquiry Into Tourism
NMDC response to CMS Select Committee Inquiry into Tourism This response is submitted on behalf of the National Museum Directors’ Council (NMDC). The NMDC represents the leaders of the UK's national collections and major regional museums. Our members are the national and major regional museums in England, Northern Ireland, Scotland and Wales, the British Library, the National Library of Scotland, and the National Archives. While our members are funded by government, the NMDC is an independent, non- governmental organisation. For more information on our activity and a full list of members see our website: www.nationalmuseums.org.uk Summary Museums are a critical part of the UK tourism offer, and visiting museums has never been so popular. Museums continue to develop their offer and operation to attract both domestic and overseas tourists. Museums and heritage continue to be primary reasons to visit Britain. Museums play a very significant role in the development of the regional tourist industry. They are frequently the most visited attraction in a town, city or region. They are also active in workforce development in this aspect of the tourism sector, including via apprenticeships and the sharing of good practice through local networks. Museum partnerships are an excellent and successful way of encouraging regional tourism, as well as building on the success of London. These partnerships have also helped with the regeneration of coastal towns built around culture or heritage. However, despite being so integral to the tourist industry, and the fact that supporting tourism is an economic priority for the Government, local authority and central Government investment for museums has substantially reduced since 2010. -
Textileartscouncil William Morrisbibliography V2
TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist. -
Zanemareni Kipar Oscar Nemon
OBLJETNICE 10 KVARTAL II - 4 - 2005 ZANEMARENI KIPAR Dalibor PranËeviÊ OSCAR NEMON S ljedeÊe godine navrπava se sto godina od izloæba u Hrvatskoj, ostao je neodreen. roenja Oscara Nemona, prema naπem sudu Anglofoni kritiËari, s druge strane, uglavnom neopravdano zapostavljenog hrvatskog kipara prepoznaju ime Oscara Nemona, viπe ili manje dvadesetog stoljeÊa. Doduπe, umjetnikovo ime uspjeπno interpretirajuÊi njegovu umjetniËku nije nepoznato hrvatskim piscima o umjetnosti aktivnost i prireujuÊi izloæbe njegovih radova.5 - o njemu su pisali povjesniËari umjetnosti Nadalje, iznimna su bila zalaganja savjetnice mahom vezani uz osjeËki ambijent,1 dok ga za kulturu pri Ambasadi Republike Hrvatske u Gamulin u svom pregledu Hrvatsko kiparstvo Londonu, Flore Turner, koja su u prosincu 2001. XIX. i XX. stoljeÊa sasvim izostavlja.2 Mediji su godine rezultirala zanimljivom izloæbom Oscar kiparu posvetili prostor prilikom inauguracije Nemon, Osijek 1906 - Oxford 1985 (Croatian portreta Sir Winstona Churchilla πto ga je Alice Cultural Centre, London). Tom je prilikom bilo Nemon Stuart Hiller,3 jedna od nasljednica kipa- moguÊe vidjeti pojedine kiparove radove, kao i rove ostavπtine i voditeljica Nemonove zaklade, fotografije njegovih javnih spomenika, te doku- poklonila Veleposlanstvu Velike Britanije u Zag- mentarne fotografije iz umjetnikova atelijera rebu. Pisalo se tada o zanimljivostima iz Nemo- πto ih je snimio umjetnikov sin Falcon Nemon nova æivota, odnosno o njegovim poznanstvima Stuart. Zanimljivom se pokazala suradnja Flore s vaænim liËnostima dvadesetog stoljeÊa, kao i Turner s ljudima involviranim u interpretaciju o skoroj izloæbi kiparova djela prigodom stote Nemonova æivota i djela, prvenstveno suradnja obljetnice njegova roenja. Pred nekoliko godina s meunarodnim savjetnikom za muzeje najavljena je i opπirna monografija s relevantnim Peterom Cannon Brookesom, koji je napisao tekstovima o njegovu æivotu i djelu.4 No, godina kratak tekst u deplijanu izloæbe. -
The Free German League of Culture
VOLAJRUME JOURNAL 0 NO.9 SEPTEMBER 200 The Free German League of Culture oday, it is hard to imagine that 1939 at an informal meeting held at the the AJR was once overshadowed Hampstead home of the refugee lawyer T by other organisations claiming and painter Fred Uhlman. It was formally to represent the refugees from Germany constituted at a meeting on 1 March 1939, and Austria in Britain. Yet this was the when Uhlman was appointed chairman, case during the wartime years, when and four honorary presidents were the Free German League of Culture elected: the artist Oskar Kokoschka, the (FGLC, Freier Deutscher Kulturbund) drama critic Alfred Kerr, the writer Stefan was active as the body representing the Zweig and the film director Berthold refugees from Germany, and the Austrian Viertel. The presence of these eminent Centre those from Austria. These were names indicates the importance of culture politically inspired organisations, aiming to the League and to its political aims. It to represent all anti-Nazi refugees from had close relations with the small group Germany or Austria irrespective of of German Communists who had fled to religion or race, unlike the AJR, whose London. Its strategy mirrored Communist constituency was the Jewish refugees tactics during the Popular Front period of irrespective of nationality. the 1930s: to use a programme of cultural Both the FGLC and the Austrian Centre and artistic events to enlist the support of were founded in 1939, just before the FGLC honorary president Oskar Kokoschka a broad spectrum of left-liberal, culturally outbreak of war. -
Focus-18-Nov-Dec-2014.Pdf
BLYTHBURGH FOCUS SERVING BLYTHBURGH, BULCAMP AND HINTON Issue No.18 http://blythburgh.onesuffolk.net November/December 2014 Council wins battle for flashing speed signs Blythburgh Parish Council has finally won its parish council has to be agreed with Suffolk nearly eight-year battle for flashing speed County Council before the system can be warning signs on the A12 and Dunwich Road. installed. Once formal agreement with the Following discussions with Suffolk County county council is reached, the sign can be Council and manufacturers of the signs, the ordered with a likely delivery of time of four to council has agreed to purchase one sign and five weeks. supporting equipment at a cost of £3,035, which The Parish Council is also keen to install will be moved around three sites in the village. prominent gateway signs for the A12 and possibly the B1125. The sites are at each of the A12 entries to the village and one as near as possible to the The estimated cost of providing gateways and southern entry into Dunwich Road. Suffolk new signs is approximately £2400 per pair of County Council will install three posts at a cost large oak gateways for supply and construction of £150 each at sites already agreed between plus a total of approximately £3000 for the parish council and Suffolk County Council’s investigation, design and safety checks regardless highways department. Financing for the system of the quantity. The total cost of two gateways was agreed at the November meeting of the on the A12 would be approximately £7,800 or parish council. -
Adapted to the Cinema by Harold Pinter for Jerry Schatzberg (1989): from (Auto)Biography to Politics
Interfaces Image Texte Language 37 | 2016 Appropriation and Reappropriation of Narratives Reunion, a Novella by Fred Uhlman (1971) adapted to the Cinema by Harold Pinter for Jerry Schatzberg (1989): from (auto)biography to politics Isabelle Roblin Electronic version URL: http://journals.openedition.org/interfaces/298 DOI: 10.4000/interfaces.298 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 1 January 2016 Number of pages: 163-179 ISSN: 1164-6225 Electronic reference Isabelle Roblin, “Reunion, a Novella by Fred Uhlman (1971) adapted to the Cinema by Harold Pinter for Jerry Schatzberg (1989): from (auto)biography to politics”, Interfaces [Online], 37 | 2016, Online since 19 March 2018, connection on 06 January 2021. URL: http://journals.openedition.org/interfaces/298 ; DOI: https://doi.org/10.4000/interfaces.298 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. 163 REUNION, A NOVELLA BY FRED UHLMAN (1971) ADAPTED TO THE CINEMA BY HAROLD PINTER FOR JERRY SCHATZBERG (1989): FROM (AUTO)BIOGRAPHY TO POLITICS Isabelle Roblin Before starting on the analysis of the ways in which Harold Pinter and Jerry Schatzberg transformed and re appropriated Fred Uhlman’s text to make it into a film, it is necessary to sum up what the text is about. The plot of Uhlman’s largely autobiographical novella is quite simple. It is about the short and intense, but ultimately impossible, friendship between two fifteen-year-old school boys during the rise of the Nazi party in Stuttgart in the early 1930s, and more exactly between February 1932 and January 1933. -
CIAM and Its Outcomes
Urban Planning (ISSN: 2183–7635) 2019, Volume 4, Issue 3, Pages 291–298 DOI: 10.17645/up.v4i3.2383 Commentary CIAM and Its Outcomes Eric Mumford Sam Fox School of Design and Visual Arts, Washington University, St. Louis, MO 63130, USA; E-Mail: [email protected] Submitted: 28 July 2019 | Accepted: 28 July 2019 | Published: 30 September 2019 Abstract CIAM, the Congrès Internationaux d’Architecture Moderne, founded by a coalition of European architects in 1928, was an international forum for new ideas about the urban design of housing and cities in an emerging socialist context. Its most influential concepts were the Existenzminimum, the small family housing unit affordable on a minimum wage income and the focus on CIAM 2, 1929; the design of housing settlements of such units, the focus of CIAM 3, 1930; and the Functional City, the idea that entire cities should be designed or redesigned on this basis. This article briefly explains these ideas and considers some of their subsequent outcomes. Keywords CIAM; Existenzminimum; functional city; urban housing; Zeilenbau Issue This commentary is part of the issue “Housing Builds Cities”, edited by Luca Ortelli (École Polytechnique Fédérale de Lausanne, Switzerland), Chiara Monterumisi (École Polytechnique Fédérale de Lausanne, Switzerland) and Alessandro Porotto (École Polytechnique Fédérale de Lausanne, Switzerland). © 2019 by the author; licensee Cogitatio (Lisbon, Portugal). This article is licensed under a Creative Commons Attribu- tion 4.0 International License (CC BY). CIAM, the Congrès Internationaux d’Architecture be CIAM’s most significant concept, as the group defined Moderne, was founded by a coalition of European ar- it as the basic planning unit for larger structures ranging chitects in 1928. -
Second-Generation (Jewish) Artists
Migration, Memory and the Visual Arts: Second-Generation (Jewish) Artists 7 May 2021, University of Leicester Online symposium Organisers: Dr Imogen Wiltshire and Dr Fransiska Louwagie Keynote: Dr Glenn Sujo (author and curator of Legacies of Silence: The Visual Arts and Holocaust Memory, Imperial War Museum) Young Blood and the Exterminatory Idea: A Continuum? Abstract As we draw on the survivors’ unassailable witness, can we as artists and scholars also look ahead to a concentrationary imaginary that enlarges the field of representation as a locus of possibility, resisting invisibility? And following from Adorno’s paradoxical proposition, can we still affirm that it is indeed ‘only in art that the enormity of such suffering finds a voice’? In this vein, I ask whether the universal message contained in the graphic cycles of Francisco Goya, Käthe Kollwitz or Otto Dix portend a visual imaginary of terror for the modern era that foreshadows the totalitarian and genocidal impulse to the destruction of a people. How do these images implicate (Rothberg) or make us complicitous (Sontag, Brink) in acts of violence, then and after? What obligations do they bestow on future acts of transmission, poetic misprision or an aesthetic of resistance? Two works, one a foreshadowing from the narrow corridor of exile and clandestinity in Max Beckmann’s Bird’s Hell (1938), the other, a fictional if also factual account of internment in KZ Auschwitz by Tadeusz Borowski (1946), sharpen our response to the subject’s radical and creative as well as destructive and nihilistic potential. Taking a cue from the symposium’s title, we might question whether the assumed model of generational succession — by choice, familial descent, identification with communal or ritual practices of remembrance or artistic affiliation — remains a viable frame for transmission in the enduring imaginary of human suffering, when subject to the erosions of time and memory as well as communal breakdown.