Jo Brand Heads up Women on Women Charity Art Auction

Total Page:16

File Type:pdf, Size:1020Kb

Jo Brand Heads up Women on Women Charity Art Auction Jo Brand heads up Women on Women charity art auction In what can be a male dominated art world, The Eve Appeal is hosting an art auction celebrating the incredible talent of leading and emerging female artists from around the world while raising money to fund research into fighting women’s cancers. The auction will take place online from 1st until 14th November 2014 with art auctioneers Paddle8. To bid, go to www.eveappeal.org.uk/art. The event is headed by comedian and writer Jo brand, and Iwona Blazwick (Whitechapel Gallery) who have helped to secure art donations from over 50 artists from across the world. Says Jo “The Eve Appeal is a charity very close to my heart after my dear friend, the brilliant comedian Linda Smith died of Ovarian Cancer. We hope that people will bid big bucks online to support our amazing female artists and raise funds to fight women’s cancers at the same time.” In addition the event is supported by celebrity ambassadors, Nigel Havers, Kathleen Turner, Paul O'Grady, Claudia Winkleman, Sue Perkins and Maureen Lipman who have all been photographed holding donated works of art. Alongside prints from established female artists such as Gillian Ayres CBE and Eileen Cooper RA (The first female keeper of the Royal Academy of Art), there are works by exciting emerging artists Virgile Ittah and Jelena Bulajic whose work has been bought by Charles Saatchi for an exhibition in 2015/6 entitled ‘A woman’s hand’. Other works in the auction include: A rare 1992 photograph of Kate Moss in Paris by world renowned photographer Pamela Hanson Photograph of Lilly Allen on Sunset Boulevard, Los Angeles by London photographer Amelia Troubridge An iconic 1960’s photograph of Cilla Black by Critically acclaimed Observer photographer Jane Bown Stella Vine’s painting of Nigella Lawson with the words ‘ Now how can I say this politely, don’t EVER underestimate me’ A drawing by the late feminist artist Alexis Hunter. The work she created for The Eve Appeal was the last work she created before her untimely death in February 2014 Anyone who would like to bid for one of these unique works of art should visit eveappeal.org.uk/art or follow the dedicated twitteraccount @WomenOnWomenArt. For further information on pieces available contact The Art Event Manager, Dominic Hourd at [email protected] Says Hourd “We are so grateful to the fantastic artists who have donated works from as far afield as Lebanon, S. Africa and USA. Their talent will be funding research that will make a difference to the 20,000 women who have to face a diagnosis of women’s cancer every year in the UK.” “Female artists have always been working away, but the acceptance and celebration of their work has been slow in coming. I believe the tide is turning as the world finally appreciates and celebrates the work female artists create.” Interviews are possible with Dominic Hourd, Art Event Manager and some of the artists participating. - ends - Further information: Liz Engel, Press Office, The Eve Appeal Tel: 020 7605 0100 / 07812 150832 [email protected] Dominic Hourd, Art Event Manager, The Eve Appeal LOGO Tel: 020 7605 0100 [email protected] Notes to Editors Just 8% of public art in central London was created by women 83% of the artists in Tate Modern are men, along with 70% of those in the Saatchi Gallery Over 50 female artists have kindly donated works to this event from UK, USA, Lebanon, Israel, UAE, Germany, Switzerland and South Africa Images are available of works of art Interviews available: Dominic Hourd, Art Event Manager at The Eve Appeal or one of the participating artists.– Please contact Liz Engel, Press Office to arrange an interview - 07812 150832 or 020 7605 0100 Jo Brand photography to be credited to Julia Schoenstaedt About The Eve Appeal The Eve Appeal was publicly launched in 2005 to help save women’s lives by funding research into gynaecological cancers and raising awareness of the diseases. To date The Eve Appeal has donated over £5 million to research but there is still much to do. Much of the research work now under way will not be completed for some years and continued funding is essential if its early promise is to be fulfilled. For the future The Eve Appeal continues to work towards its vision of a world where fewer women develop and significantly more women survive gynaecological cancers. Liz Engel, Press Office The Eve Appeal Tel: 07812 150832 / 020 7605 0100 [email protected] www.eveappeal.org.uk The Eve Appeal was set up to fund groundbreaking research into all gynaecological cancers at the Gynaecological Cancer Research Centre, UCL. Our vision is a world where more women survive and fewer women are diagnosed with gynaecological cancers..
Recommended publications
  • The Art Fund in 2014/15
    The Art Fund in 2014 /15 The Art Fund in 2014/15 Report of the Board of Trustees Chairman’s welcome p3 Mission and objectives p4 Art Acquisitions p10 Joint acquisitions and tours p18 Curators p23 Gifts, bequests and legacies p24 Public fundraising appeals p26 Sector Art Happens p33 Art Fund Prize for Museum of the Year p34 Digital initiatives and new audiences p37 Community National Art Pass p41 Art Quarterly p43 Supporters p44 Resources Operations p51 Finance review p52 2 The Art Fund in 2014/15 3 Chairman’s welcome Ever since its foundation in 1903, the Art Fund has played a vital role in enhancing the health and quality of the UK’s museums and galleries, meeting the challenges of the hour whenever and wherever they have arisen. Budget cuts, the changing expectations of Since 2010, the Art Fund has supported We are doing all we can to help museums audiences, and the relentless development the curatorial profession by funding various attract, entertain and inform those who visit of new technologies are amongst the training and research opportunities. them. We believe in the power of art in problems – and opportunities – faced by In 2014 we gave £402,000, more than ever contemporary society and we are proud of the museum and arts sector today. We before, to this end – vitally important, in all we have done in its service in 2014, with have tried to help on all fronts: in 2014, our view, for the health and vitality of our the help of all of our supporters. alongside the grants for acquisitions that public art collections.
    [Show full text]
  • BLAF Post of IUAM Exhibit to Delia
    A SELF TO RECOVER: EMBODYING SYLVIA PLATH’S ARIEL They thought death was worth it, but I Have a self to recover, a queen. Is she dead, is she sleeping? Where has she been, With her lion-red body, her wings of Glass? From “Stings” (1962) by Sylvia Plath Sylvia Plath (October 27, 1932 – February 11, 1963) was an American writer of great influence, most famous for her second book of poetry, Ariel, published two years after her suicide. Plath wrote most of these poems in October 1962 during an astounding period of productivity, working in the hours before dawn while her two young children slept. Many of these poems raged at circumstances around the breakup of her marriage to British poet Ted Hughes after she discovered his infidelity. Yet they also celebrate and verify the mastery of her art, and her prospects for forging a new identity as a professional writer living in England. As editor of Ariel after her death, Hughes rearranged her chosen poems and replaced twelve of them with compositions she had planned for a third collection. Ariel: The Restored Edition (2004) presents Plath’s original version. Her first book, The Colossus and Other Poems (1960) is generally characterized as “transitional” works leading to her accomplished Ariel voice. And her 1961 semi-autobiographical novel The Bell Jar continues to be an international bestseller. As a major cultural icon, Plath’s work has largely been read as confessional, death-obsessed, and potentially dangerous to the psyches of young people. Her life story and work has also been highly influential in the development of feminist thought and women’s writing, and for women struggling with depression.
    [Show full text]
  • Figurative Art and Feminism
    Re-presenting melancholy: Figurative art and feminism Christina Reading A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctorate in Fine Art April 2015 The University of Brighton in collaboration with the University for the Creative Arts Re-presenting melancholy: Figurative art and feminism Re-presentations of women’s melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: ‘What aspects of women’s experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women’s melancholic subjectivity today?’ The question is examined through an original juxtaposition of women’s figurative art history, theories of melancholy and the author’s own studio practice. Adopting and refining Griselda Pollock’s method of the Virtual Feminist Museum, the thesis elaborates a new critical and creative space to gather, re-read and make artwork to address the theme of women’s experiences of melancholy (Pollock, 2007). The author curates a ‘virtual feminist museum’ of women’s figurative art dealing with melancholy, past and present. Using Pollock’s model as a trigger, the research project sets up a space for interrogating what new meanings are revealed in relation to notions of melancholy by examining the overlaps, collisions and juxtapositions between the works the author has selected and the works the author has made. The artworks are theorised and interpreted by their relationship to the following discourses: the history of figurative art practice, melancholy and feminism; Freud’s foundational text ‘Mourning and melancholia’ (1917); and the examination of the author’s own representational multimedia studio practice.
    [Show full text]
  • English Reports René Viau, Françoise Belu, André Seleanu, Jean De Julio-Paquin, Bernard Lévy, Yves Prescott, Hedwidge Asselin and Marie Claude Mirandette
    Document generated on 09/24/2021 5:03 p.m. Vie des Arts English Reports René Viau, Françoise Belu, André Seleanu, Jean De Julio-Paquin, Bernard Lévy, Yves Prescott, Hedwidge Asselin and Marie Claude Mirandette Volume 51, Number 208, Fall 2007 URI: https://id.erudit.org/iderudit/52501ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Viau, R., Belu, F., Seleanu, A., De Julio-Paquin, J., Lévy, B., Prescott, Y., Asselin, H. & Mirandette, M. C. (2007). English Reports. Vie des Arts, 51(208), 103–110. Tous droits réservés © La Société La Vie des Arts, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Holy Water Cannot Help You Now, 2005. OXFORD, U.K. Courtesy Modern Art Oxford STELLA VINE RETROSPECTIVE What she is, is a contemporary figurative painter, her paintings, MODERN ART OXFORD however, are far from being stuck in 30 PEMBROKE STREET OXFORD 0X1 1BP some kind of revisionist back-track­ ing. She is undeniably modern and TEL+ 44(0)1865 722733 original, and very much the voice of FAX+ 44(0)1865 722573 the times.
    [Show full text]
  • Review 2005/2006
    Review 2005/2006 Review 2005/2006 2 Preface by the Chairman of the Trustees 4 Foreword by the Director 6 2005/2006 Highlights 8 Extending and Broadening Audiences 14 Developing the Collection 20 Increasing Understanding of Portraiture and the Collection 28 Maximising Financial Resources 33 Developing Staff 34 Improving Services 38 Supporters 40 Financial Report 44 Acquisitions 50 Research Activities 51 Exhibitions 52 Staff William Shakespeare?, known as the Chandos Portrait attributed to John Taylor, c.1600–10 Front cover J.K. Rowling by Stuart Pearson Wright, 2005 Commissioned by the Trustees and made possible by funding from BP Back cover Barbara Villiers, Duchess of Cleveland by Sir Peter Lely, c.1664 2 Preface by the Significant anniversaries do not come all that the highest number of visits both for the often. Although the opportunity to celebrate is BP Portrait Award and for the Schweppes Chairman of very welcome, the 150th Anniversary also offers Photographic Prize exhibitions, as well as a the Trustees a chance to take stock and to look forward with high attendance for the BBC collaboration determination. There is a great deal to applaud: The World’s Most Photographed. from a record year for visitors to success in the development of research, the Gallery moves These successes in London are matched by our from strength to strength. increasingly important outreach activities and national programme work around the country, Much of the past year has been taken up including our partnership with the North East with preparation for the 150th Anniversary Hub, our collaborations in cities such as programme.
    [Show full text]
  • Pauline Boty and the Predicament of the Woman Artist in the British Pop Art Movement Suetate Volume One
    GENDERING THE FIELD: PAULINE BOTY AND THE PREDICAMENT OF THE WOMAN ARTIST IN THE BRITISH POP ART MOVEMENT SUETATE VOLUME ONE (of two) A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the Degree of Doctor of Philosophy at Bath Spa University College School of English and Creative Studies, Bath Spa University College. November 2004 Volume One Contents Page i ACKNOWLEDGEMENTS Page ii AUTHOR'S PREFACE Page iii ABSTRACT Page 1 INTRODUCTION (statement of objectives) Page 8 CHAPTER ONE: METHODOLOGY and CRITICAL REVIEW OF LITERATURE page 8 Part One: Methodology page 8 Historiography page 10 A feminist historical materialism page 12 Mapping the dynamics of the field page 13 The artist's biography: the role of the 'life and works' page 16 Discursive shifts : art historical revisionism and problems in feminism page 17 Part Two: A Critical Review of Literature page 19 Ontological insecurity page 26 The myth of the homogeneous audience page 30 The evacuation of meaning page 36 The detached artist page 37 Multifarious yet gender free readings Page 43 CHAPTER TWO: GENDERING THE FIELD OF PRODUCTION AND DISTRIBUTION page 44 The Royal College of Art : a site for investigation page 45 A masculine ethos page 51 Kudos and gender page 56 Distributive apparatus page 57 The non-commercial sites page 58 The John Moores page 60 The ICA page 61 The Young Contemporaries page 66 Private galleries page 70 A comparison with Fluxus Page 76 CHAPTER THREE: PAULINE BOTY, A GLORIOUS EXCEPTION? page 76 Family
    [Show full text]
  • Session & Paper Abstracts | Thursday 5 April
    A Bacchanal of Truth Aron Vinegar, University of Oslo ‘Look out!’ I read this headline for the Association for Art History conference as a provocation launched in extremis. In the spirit of such an interpretation, this session is an exploration of the logic and passion of exaggeration, extravagance, hyperbolics, extremist positions, and excessive statements in and around art, art history, criticism, visual studies, philosophy and politics. It is an attempt to plumb the possibilities for and the necessity of exaggeration in order to generate new modes and thresholds of truth that do not entail adding knowledge to knowledge. Quintilian defined hyperbole as ‘the proper straining of the truth’; Thoreau wrote, ‘I am convinced that I cannot exaggerate enough even to lay the foundation of a true expression’; Badiou notes that, ‘(All) truths are woven from extreme consequences. Truth is always extremist’; and Hanna Arendt provocatively states that ‘all thought is exaggeration’. This panel is not primarily interested in obvious examples taken from high modernism – ‘the age of extremes’ in art and politics – but rather in exploring modes of exaggeration concerning art’s relationship to aesthetics, truth, and politics in and for our time Are there different modalities or new techniques that we need to invent, and that we might add to those like hyperbole, assertion, tautology, rage, ellipses, or polemos? Does postmodernism and much of its aftermath necessarily mark the emergence of a postextremist state of consciousness, a ‘neo-mediocre climate’? If capitalism is predicated on its ability to produce and absorb all excess, what are we to do? What about our current political climate and its extremisms? Tom Wilkinson (The Warburg Institute, London) Honest Dollars: Why did money start telling the truth during the German Hyperinflation, and could it do the same today? In the early 1920s, German money went badly wrong.
    [Show full text]
  • Modern British and Irish Art Irish and British Modern
    Tuesday 15 September 2015 Tuesday Knightsbridge, London MODERN BRITISH AND IRISH ART MODERN BRITISH AND IRISH ART | Knightsbridge, London | Tuesday 15 September 2015 22610 MODERN BRITISH AND IRISH ART Tuesday 15 September 2015 at 14.00 Knightsbridge, London BONHAMS ENQUIRIES Please see page 2 for bidder IMPORTANT INFORMATION Montpelier Street Emma Corke information including after-sale The United States Government Knightsbridge +44 (0) 20 7393 3949 collection and shipment has banned the import of ivory London SW7 1HH [email protected] into the USA. Lots containing www.bonhams.com Please see back of catalogue ivory are indicated by the symbol Shayn Speed for important notice to bidders Ф printed beside the lot number VIEWING +44 (0) 20 7393 3909 in this catalogue. Sunday 13 September [email protected] ILLUSTRATION 11.00 – 15.00 Front cover: Lot 72 Monday 14 September PRESS ENQUIRIES Back cover: Lot 138 09.00 – 16.30 [email protected] Inside front: Lot 83 Tuesday 15 September Inside back: Lot 16 09.00 – 11.00 CUSTOMER SERVICES Monday to Friday 08.30 – 18.00 BIDS +44 (0) 20 7447 7447 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax LIVE ONLINE BIDDING IS To bid via the internet please visit AVAILABLE FOR THIS SALE www.bonhams.com Please email [email protected] with “Live bidding” in the subject Please note that bids should be line 48 hours before the auction submitted no later than 24 hours to register for this service. before the sale. SALE NUMBER New bidders must also provide 22610 proof of identity when submitting bids.
    [Show full text]
  • JAMES JESSOP Lives and Works in London Born 1974, Blechely (UK)
    JAMES JESSOP Lives and works in London Born 1974, Blechely (UK) EDUCATION 1997-1999 MA Painting Royal College of Art 1992-1995 BA Hons Fine Art Coventry University SOLO EXHIBITIONS 2009 Uncanny Tales Galleri Tom Christoffersen, Copenhagen, (Denmark) 2008 James Jessop. Thomas Cohn Gallery, Sao Paulo, (Brazil) 2007 Night of the Demon. Sartorial Contemporary Art, London (UK) 2006 Subway Ghosts. Sartorial Contemporary Art, London (UK) 2005 Warning the Monster is Loose. Rockwell, London (UK) 2003 Funky Paintings. Haye Gallery, Colchester Institute, Colchester (UK) 2002 Horrific Paintings. This Way Up Gallery, London (UK) GROUP EXHIBITIONS 2010 Demonology Charlie Smith London, London (UK) 2009 Animals, Contemporary visions, Martini Arte Internazionale, Turin 2008 Burning Candy. Featuring: Cyclops, Sweet Toof, Tek33. Sartorial Contemporary Art London (UK) and Leeds College of Art and design, Curated by James Jessop 2007 The Future Can Wait. The Atlantis Gallery, London (UK) It Takes Two Part II' James Jessop & Harry Pye, Sartorial Contemporary Art (UK) Under Neglene (Under My Nails). Galleri Tom Christoffersen, Cph. It Takes Two. James Jessop vs Harry Pye, Fishmarket, Northampton (UK) 2006 New London Kicks. Wooster Projects, New York (USA) Artistic Vandals (Part 2). Curated by James Jessop, Sartorial Contemporary Art, London (UK) Admission By Invitation. Galleri Tom Christoffersen, Cph. Obsession. Sartorial Contemporary Art, London (UK) Artistic Vandals. Curated by James Jessop with Gretta Sarfaty Marchant, Sartorial Contemporary Art at nomoregrey. East London (UK) Cult Media. Bastart, Bratislava (Slovakia) Requiem. St. Anselm's Church, London (UK) Water. Sartorial Contemporary Art, London (UK) People Like Us. Sartorial Contemporary Art at nomoregrey, East London (UK) The Deviants' (part two).
    [Show full text]
  • Countywide Curator Report 2012-2013
    Norfolk Museums & Archaeology Service Countywide Curator Report 2012-2013 1 2 Norfolk Museums & Archaeology Service Countywide Curator Report 2012-13 Contents Contacts and Acknowledgements 4 Foreword 5 Introduction 6 The Curators’ Role 7 1 EXCELLENCE: IMPROVING THE COLLECTIONS AND DISPLAYS 8 Norwich 8 Western Area 15 Eastern Area 16 Loans 19 Acquisitions 22 Research 27 Preventative Conservation and Collections Care 35 2 COMMUNICATION WITH AUDIENCES 38 Exhibitions 38 Events 51 Curator Talks 62 Adult Outreach 65 Enquiries 68 Social Media 71 Media Highlights 76 3 RESILIENCE 80 Collections management and rationalisation 80 Partnerships 89 4 LEADERSHIP AND WORKFORCE – INVESTING IN THE SECTOR 95 Volunteers 95 Research Associates 102 Supporting the sector 103 Teaching Museum and Workforce Development 105 5 CHILDREN AND YOUNG PEOPLE 110 Formal Learning 110 Informal Learning 118 Appendix 122 3 CONTACTS AND ACKNOWLEDGEMENTS Chief Curator and Keeper of Archaeology Dr John Davies FSA, 01603 493630, [email protected] Collections Development Manager Jamie Everitt, 01603 493654, [email protected] Head of Conservation Man-Yee Liu, 01603 223387, [email protected] Head of Display Jon Maxwell, 01603 493652, [email protected] Norfolk Museums & Archaeology Service (NMAS) is a multi-award winning service comprising ten museums and a study centre. NMAS is a partnership between Norfolk County Council and Norfolk’s District Councils funded through council tax, earned income and grants. The service gratefully acknowledges this support. As one of only 16 Major Partner Museums in England, NMAS also receives substantial investment from Arts Council England which supports, among other things, the activity described in this report.
    [Show full text]
  • Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London.
    [Show full text]
  • Annual Review 2007
    annual review 2007 welcome Arts Council England works to get more art to more people in more places. We develop and promote the arts across England, acting as an independent body at arm’s length from government. Between 2006 and 2008, we will invest £1.1 billion of public money from government and the National Lottery in supporting the arts. This is the bedrock of support for the arts in England. We believe that the arts have the power to change lives and communities, and to create opportunities for people throughout the country. Front cover: Dancer Kelly Wilson performing in balletLORENT’s la nuit intime. Photo: Ravi Deepres Inside front cover: Whiteplane_2, a sound and light collaboration toured by the Contemporary Music Network. Photo: Manuel Vason Arts Council England annual review 2007 1 contents 15 Taking part in the arts 5 Chair’s report Arts attendance is at its highest point for 10 years, notes Sir Christopher Frayling. 9 Chief executive’s report In his last report as Chief Executive, Peter Hewitt looks back on a ‘remarkable year’ for the arts sector. 12 More art, more people, more places In 2006/07, we funded around 1,100 organisations on an ongoing basis and made a total of 4,334 grants to individuals and organisations for specific arts projects. 21 Children and young people 15 Taking part in the arts More people now take part in cultural activity than vote, and attendance at arts events is at its highest for 10 years. We want to build on this success story. 21 Children and young people Eighty-nine per cent of the organisations we regularly fund provide opportunities to young people.
    [Show full text]