DOCSLIB.ORG

Revolt & Revolutions Media Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Revolt & Revolutions Media Release Revolt & Revolutions Media Release An Arts Council Collection National Partner exhibition 6 January–15 April 2018 Bothy Gallery Creativity has long been associated with vanguard ideas. Art and music can give a voice to the unheard, empower the vulnerable and celebrate the human capacity for positive action, even in adversity. Revolt & Revolutions, drawn primarily from the Arts Council Collection, gives an insight into counterculture and anti-establishment movements, and shows the work of artists who seek to make a difference – helping to suggest ways that we might contribute to change on an individual, community and even global level. Martin Boyce, Souvenir The exhibition is announced by Susan Philipsz’s tentative version of The Internationale Placards, 1993. Arts (1999) broadcast across the landscape, drawing visitors into the Bothy Gallery. Inside, Council Collection, Southbank Centre, London Ruth Ewan’s A Jukebox of People Trying to Change the World (2003) invites you to select © the artist. Gift of from an ever-growing archive of protest songs, recently updated to include the Trump era. Charles Saatchi 1999 A series of sculptures and prints from the mid-1970s, around the time of YSP’s inception, highlight the volatile environment of the era and the rise of anti-capitalist, punk and do-it-yourself movements: Christiania (1977) by Mark Edwards captures the Danish anarchist commune that emerged from the squatting of an abandoned military barracks in Copenhagen; Andrew Logan’s Homage to the New Wave (1977), a large mirrored mosaic safety pin, appropriates the symbol that came to represent punk culture and ethos; and Victor Burgin’s Possession (1976) questions the fairness of wealth distribution. In Peter Kennard’s subversive photomontage Haywain, Constable (1821) Cruise Missiles U.S.A. (1981) (1981), three nuclear warheads are inserted into the idyllic East Anglian countryside of John Constable’s painting The Hay Wain (1821). Shown alongside Marcus Lyon’s Greenham Women to be Evicted (1992) and Nightguard, Stonehenge (from our Forbidden Land) (1988) by Fay Godwin, the works highlight a shift towards anti-war and land access activism in the 1980s and 1990s. Helmet Head No.3 (1960) by Henry Moore, a supporter of the Campaign for Nuclear Disarmament, also features. The final room premieres a new episode of Larry Achiampong and David Blandy’s FF Gaiden series. The video, which uses the virtual landscape of Grand Theft Auto V as its backdrop, shares the story of Alison Catherall, a local resident who has long championed social justice at a grass roots level. Coinciding with Alfredo Jaar’s major YSP exhibition The Garden of Good and Evil (until 8 April 2018), a poetic interrogation of humanitarian issues and human and civil rights abuse, Ruth Ewan, A Jukebox of People Trying to Change Revolt & Revolutions continues a strand of YSP programming that encourages debate the World, 2003 – ongoing. and presents issues relevant to contemporary society. Installation view, The New Museum, New York. Rowe Exhibition-inspired events include Do You Want to Change the World? (20 February CD jukebox containing a 2018) on the evening of the United Nation’s World Day of Social Justice. Let’s Play Vinyl: collection of songs, varying in origin, with political or Heritage HiFi (3 March 2018) celebrates the fact that the first independent English idealist motives. Courtesy record label was started by Mike Levon, a student of Bretton Hall – bring your vintage the artist and Rob Tufnell, London/Cologne. dub and vinyl records and join Let’s Go Yorkshire and selector Paul Huxtable for an Andrew Logan, Homage to afternoon of music. the New Wave, 1977. Arts Council Collection, Southbank Visitors are invited to share how they would change the world using #60SecondSoapBox Centre, London © the artist Notes to Editors Yorkshire Sculpture Park is part of the Arts Council Collection National Partners Programme. Arts Council Collection is managed by Southbank Centre, London on behalf of Arts Council England. Visitors are invited to see more of the Arts Council Collection in the new Arts Council Collection Touring Exhibition, In My Shoes: Art and the Self since the 1990s which is on display at Longside Gallery, Yorkshire Sculpture Park from 1 April to 17 June 2018. For press enquiries, contact: Sophie Steel, SUTTON: +44 (0)20 7183 3577 / [email protected] Kerry Chase, Yorkshire Sculpture Park: +44 (0)1924 832515 / [email protected] For press enquiries regarding Arts Council Collection, contact: Filipa Mendes, Southbank Centre: +44 (0)20 7921 0919 / [email protected] About Yorkshire Sculpture Park Yorkshire Sculpture Park (YSP) is the leading international centre for modern and contemporary sculpture which celebrates its 40th anniversary in 2017. It is an independent charitable trust and registered museum (number 1067908) situated in the 500-acre, 18th-century Bretton Hall estate in West Yorkshire. Founded in 1977 by Executive Director Peter Murray, YSP was the first sculpture park in the UK, and is the largest of its kind in Europe, providing the only place in the world to see Barbara Hepworth’s The Family of Man in its entirety alongside a significant collection of sculpture, including bronzes by Henry Moore, and site-specific works by Andy Goldsworthy, David Nash and James Turrell. YSP also mounts a world-class, year- round temporary exhibitions programme including some of the world’s leading artists across five indoor galleries and the open air. Recent highlights include exhibitions by Not Vital, KAWS, Bill Viola, Anthony Caro, Fiona Banner, Ai Weiwei, Ursula von Rydingsvard, Amar Kanwar, Yinka Shonibare MBE and Joan Miró. YSP’s core work is made possible by investment from Arts Council England, Wakefield Council, Liz and Terry Bramall Foundation and Sakurako and William Fisher through the Sakana Foundation. YSP was named Art Fund Museum of the Year in 2014. ysp.org.uk About Arts Council Collection The Arts Council Collection is a national loan collection of British art from 1946 to the present day. With nearly 8,000 works and more than 1,000 loans made to over 100 venues a year, it is seen by millions of people in public spaces from galleries and museums to hospitals, libraries and universities. Representing one of the most important collections of British modern and contemporary art in the world, it includes work from Francis Bacon, Barbara Hepworth, Henry Moore, Lucian Freud, Antony Gormley and Grayson Perry. The Collection supports and promotes British artists by acquiring art at an early stage of their careers. The Arts Council Collection is managed by Southbank Centre, London and includes the Sculpture Centre located at Longside, Yorkshire Sculpture Park. artscouncilcollection.org.uk About National Partner Exhibitions To mark the Arts Council Collection’s 70th anniversary, in 2016, Arts Council England invested in a network of four National Partner museums and galleries across England, Towner Art Gallery, Eastbourne, Birmingham Museums Trust, The Walker Art Gallery, National Museums Liverpool and the Collection’s existing partner, Yorkshire Sculpture Park. The partners will provide a year-round home for art works within the Collection, hosting a special programme of at least 24 National Partner exhibitions between April 2016 and Spring 2019. About Arts Council England Arts Council England champions, develops and invests in artistic and cultural experiences that enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to digital art, reading to dance, music to literature, and crafts to collections. artscouncil.org.uk About Southbank Centre The Arts Council Collection is managed by Southbank Centre, London on behalf of Arts Council England. Southbank Centre is the UK’s largest arts centre, occupying a 17-acre site that sits in the midst of London’s most vibrant cultural quarter on the South Bank of the Thames. The site has an extraordinary creative and architectural history stretching back to the 1951 Festival of Britain. Southbank Centre is home to the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and the Hayward Gallery as well as The Poetry Library and the Arts Council Collection. The Arts Council Collection is managed by Southbank Centre, London on behalf of Arts Council England. southbankcentre.co.uk Social Media #YSP / #RevoltAndRevolutions / #ACCNationalPartners Twitter: @YSPsculpture / @A_C_Collection Instagram: @YSPsculpture / @artscouncilcollection.
Load more

Recommended publications
  • Consumer Poster Project Project Completed During Phd by Project In
    Consumer Poster Project Project completed during PhD by project in Fine Art at the Royal College of Art, Oct 2011 – December 2016, funded with a grant from Lipman-Milliband Trust. 'Consumer' examines the influence of capitalism on the visual landscape. In March – May 2015 I purchased advertising space around Cardiff city centre and populated it with artworks that critique capitalism. The artworks employ the methods of enticement that are often found in adverts but will invite people to think about the pervasiveness of capitalist consumption rather than impel them to buy something. The ultimate aim of the project is to encourage people to think about the pervasiveness of consumerism in capitalist society. By creating disruptions within the commercial advertising field the exhibition aims to provoke the audience to reconsider consumerism as a distraction that inhibits positive social development towards social justice and equality. I selected three artists of international repute; Ellie Harrison is an artist based in Scotland. She studied Fine Art at Nottingham Trent University, Goldsmiths College and Glasgow School of Art, where she undertook a Leverhulme Scholarship on the Master of Fine Art programme. In 2003 her project Eat 22 was shown at the Science Museum, London as part of the exhibition ‘Treat Yourself’. It is now on permanent display at the Wellcome Collection museum. In 2012 she created The Redistribution of Wealth installation at Tate Britain. Ellie Harrison is Lecturer in Contemporary Art Practices at Duncan of Jordanstone College of Art & Design. Peter Kennard is an established London-based British artist. His artwork aims to instigate debate about art, politics and society.
    [Show full text]
  • Art Catalogue Introduction
    Art Catalogue Introduction Welcome to the inaugural Green Creates… art exhibition. Artistic expression, in its many forms, has existed in every age, every culture, and every country. Art can be both rooted in history and a catalyst for change. It connects us to the past, expresses our views of the present and suggests new ideas and visions for the future. As such, it is only fitting that we should call upon the support of the arts’ community today, as we stand on the brink of an uncertain future, attempting to hold onto the values and achievements that make us proud to be British, whilst working towards a new and better tomorrow. ‘‘Green’ suggests healthy options and therefore Green Creates… is an opportunity for the arts community to show their support for the Green Party, our policies healthy outcomes. Green issues should be the first and our work, but also an example of art as a social commentary in a time of social, economic and political consideration in everything from housing, to health unrest. The theme of Green Voices called for artists to express their opinions on the issues of the day and they to education and beyond.’’ have produced work that encompasses everything from climate change to the ephemeral beauty of nature. Ralph Steadman We are delighted at the richness and diversity of the work that we have on display and to welcome you to this celebration of some of the different interpretations of what it means to be green today. Best wishes, Jonathan Bartley and Caroline Lucas Co-Leaders - Green Party of England and Wales 4
    [Show full text]
  • Art and Conflict
    ART AND CONFLICT Essays by Jananne Al-Ani Bernadette Buckley Michaela Crimmin Malu Halasa Jemima Montagu Sarah Rifky Larissa Sansour Charles Tripp A research enquiry supported by the Arts and Humanities Research Council and the Royal College of Art 2013 to 2014 1 ART AND CONFLICT ©Royal College of Art 2014 and the authors ISBN 978-1-910642-01-6 British Library Cataloguing-in-Publication Data. A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior consent of the publishers. First published in electronic format in 2014 by Royal College of Art Kensington Gore London SW7 2EU www.rca.ac.uk Published with the support of the Arts and Humanities Research Council and the British Council, in association with Culture+Conflict. Edited by Michaela Crimmin and Elizabeth Stanton with Sophie Oxenbridge-Hastie and Chloe Wood Designed by Tom Merrell CONTENTS 3 Introduction: Reflections on Art and Conflict Michaela Crimmin 15 The Aesthetics of Disappearance: A Land Without People Jananne Al-Ani 21 Crosshatching: Culture+Conflict Bernadette Buckley 38 Martyrs of Revolution: Art and Memory in Troubled Times Charles Tripp 44 Contemporary Visual Art in Afghanistan: ‘An art of laughter and forgetting…’ Jemima Montagu 56 The Post-apocalyptic Present Larissa Sansour 61 The Engaged Book Malu Halasa 70 Delusions of Reference: In
    [Show full text]
  • Magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword
    Cultural Theory 2015 magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword This fourth number of C# — the Christie’s Education student-led on-line journal — reflects the unique interests, engagements and ambitions of those who have made the issue. As lecturers, tutors and teachers, our aim is to set in motion the conditions necessary for students to begin to gather together critical writing, features, essays and interviews, which map and explore the ecosystem that makes for contemporary art and its varied practices and positions. We offer advice and supervision, but mainly the opportunity to take ownership of the endeavour and shape the experience and outcome as theirs. Before you is the product of those efforts in C#15. The cohort of students that comprise the class of 2014–15 are now, as I write, finishing up their course work and preparing the transition to forging their own professional practices and positions in the art world. We take pride that they may already appreciate such a shift as akin a move into the grand theatre of objects variously arranged in space and time relative to perceiving subjects that is the lebenswelt, or lifeworld. This is ultimately the dynamic horizon against which they will continue to learn and live, laugh, love and labour. We wish them well and thank them for being excellent representatives of Christie’s Education. John Slyce Senior Tutor Modern and Contemporary Art and Art world Practice Table of Contents Features Exhibition Reviews/ London 16
    [Show full text]
  • Hanaaʼ Malallah & Kennardphillipps
    Presidential Seal, 2006, kennardphillipps Photo Op, 2005, kennardphillipps Happened Dawn, 2012, Hanaa’ Malallah Flag 2, 2012, Hanaa’ Malallah Press release For immediate release, March 13 2012 Hanaaʼ Malallah & kennardphillipps Iraq: How, Where, For Whom? 20 April - 8 June 2012 (Private view, 6.30-8pm, Thursday 19 April 2012) The Mosaic Rooms, 226 Cromwell Road, London, SW5 0SW The Mosaic Rooms is honoured to present a collaborative exhibition between the distinguished Iraqi artist Hanaaʼ Malallah and the UK duo kennardphillipps, which will open on April 20 2012. Hanaaʼ Malallah is regarded as one of Iraqʼs leading and most innovative contemporary artists. kennardphillipps (Peter Kennard and Cat Phillipps) have been working together since 2003 to produce work in reaction to the invasion of Iraq. The three artists have developed this exhibition in response to each otherʼs practises, creating a uniquely resonant conversation on the invasion/occupation of Iraq. This exhibition will include large-scale collages, installations, photomontage pieces and sculptures. kennardphillippsʼ work manipulates and subverts press material on the Iraq war to create opposing images and narratives. The works featured range from those that directly adapt media imagery for immediate impact, like Photo Op, which places an image of a smiling Tony Blair against a backdrop of an explosion, to those that require the viewer to make closer inspection, such as Presidential Seal, a 7m long by 2.7m high work made up of newspaper clippings about the Iraq war, which the duo have then painted and drawn upon. Malallahʼs work uses burnt canvas, cloths, wire, found objects and paint to create violently abstract yet sensuous pieces.
    [Show full text]
  • Peter KENNARD B
    Peter KENNARD b. 1949, London, United Kingdom Lives and works in Hackney, London, United Kingdom EDUCATION 1965 - 1967 Byam Shaw School of Art 1967 - 1970 Slade School of Fine Art 1976 - 1979 Royal College of Art (MA in Fine Art) SELECTED SOLO EXHIBITIONS 2019 Peter Kennard: Visual Dissent, Foyles Art Gallery, London, UK 2018 Art Against War Millennium Gallery, Museum Sheffield, Sheffield, UK 2016 Off Message, MAC | Midland Arts Centre, Birmingham, UK @earth, Ideas Store, Canary Wharf, London, UK 2015 Unofficial War Artist: Peter Kennard, Imperial War Museum, London, UK 2013 Images of Resistance: Peter Kennard Retrospective, Gallery Fifty 24MX, Mexico City, Mexico 2011 At Earth: Peter Kennard Retrospective, Raven Row, London, UK 2008 Uncertified Documents: Peter Kennard Retrospective, Pump House Gallery, London, UK 2004 Decoration, Gimpel Fils, London, UK Decoration & Award, Street Level, Glasgow, UK 2002 Face, Gimpel Fils, London, UK 2000 Domesday, Gimpels Fils, London, UK Reading Room, Royal College of Art, London, UK 1997 Photomontages – A 20 Year Retrospective, Zelda Cheatle Gallery, London, UK Reading Room, Gimpel Fils, London, UK Home, Dazed and Confused Gallery, London, UK Reading Room, Edinburgh College of Art, Edinburgh, UK News-Truck, Edinburgh Festival, UK Unwords, The Millais Gallery, Southampton, UK 1996 Unwords, Bluecoat Gallery, Liverpool; Mead Gallery, Warwick Arts Centre; Rowley’s House Museum, Shrewsbury, UK 1995 Our Financial Times with Ken Livingston MP, Gimpel Fils, London, UK Welcome to Britain, Sassoon Gallery, Folkestone,
    [Show full text]
  • The Modern Master Photography Now Photography Ed Sykes Peter Kennard Peter Kennard 18 of Photomontage
    FREE PETER KENNARD THE MODERN MASTER PHOTOGRAPHY NOW PHOTOGRAPHY ED SYKES PETER KENNARD 18 OF PHOTOMONTAGE 1 STATE 11 www.state-media.com Olympus Cameras A new perspective. What has continued to motivate us over the years? Outstanding innovation that generates new perspectives and new possibilities. The new OM-D E-M10 Mark II features powerful 5-Axis Image Stabilisation delivering spectacularly clear and blur free images in any situation – which you can then share instantly thanks to built-in Wi-Fi. Discover more: anewperspective.olympus.co.uk REDUCED TO PERFECTION Olympus Cameras A new perspective. What has continued to motivate us over the years? Outstanding innovation that generates new perspectives and new possibilities. The new OM-D E-M10 Mark II features powerful 5-Axis Image Stabilisation delivering spectacularly clear and blur free images in any situation – which you can then share instantly thanks to built-in Wi-Fi. Discover more: anewperspective.olympus.co.uk REDUCED TO PERFECTION CAPTURED BY DAFYDD JONES i SPY [email protected] ANTHONY D’OFFAY & FRIEND Tate Modern EVA HERZIGOVA GREGORIO MARSIAJ JANE WILSON NSPCC LOUISE WILSON BOBS Tate Modern VICTORIA SEKRIER LAIL ARAD YAIR NEUMAN ALESSANDRA D’URSO Blain|Southern Blain|Southern ELISABETH ESTEVE NSPCC NIKKI BELL BEN LANGLANDS RICHARD NOBLE Tate Modern DAVID ADJAYE ASHLEY SHAW-SCOTT NICOLA GREEN DAVID LAMMY NSPCC PAOLO ROVERSI NSPCC ELIZABETH HURLEY PATRICK COX NSPCC EUGENIE NIARCHOS RACHEL HOWARD HUGH ALLAN NSPCC JOHN PEARSE FLORENCE PEARSE Blain|Southern JOHN WHITTINGDALE KRISTINA BOBS Tate Modern SIR MICHAEL CAINE LADY SHAKIRA CAINE NSPCC BEN OKRI BETTANY HUGHES Tate Modern BODIL BLAIN BRYAN FERRY Blain|Southern SALMAN RUSHDIE MILAN RUSHDIE HALA FARES FRANCESCO CLEMENTE Blain|Southern Blain|Southern LARRY GAGOSIAN NSPCC CHELSEA LONDON NSPCC : The Neo Romantic ArtTATE Gala MODERN at Masterpiece.
    [Show full text]
  • Banksy. Urban Art in a Material World
    Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition
    [Show full text]
  • An Historical and Cultural Geography of the Journal Contemporary Issues in Geography and Education (CIGE) (1983-1991)
    Norcup, Joanne (2015) Awkward geographies? An historical and cultural geography of the journal Contemporary Issues in Geography and Education (CIGE) (1983-1991). PhD thesis. http://theses.gla.ac.uk/6849/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Awkward Geographies? An historical and cultural geography of the journal Contemporary Issues in Geography and Education (CIGE) (1983-1991) Joanne Norcup Thesis submitted for award of PhD in Geography, School of Geographical and Earth Sciences, College of Science and Engineering, University of Glasgow: July 2015. Abstract This thesis concerns itself with the excavation of the historical and cultural geographies of the production, circulation, and reception of a grassroots-initiated geography education journal, and of the lives of the people and movement that contributed to its existence. Contemporary Issues in Geography and Education (CIGE) was the journal of the Association of Curriculum Development in Geography (ACDG): a pan-institutional collective of school geography teachers, authors, artists, activists and academics who desired a vision of school geography informed from the political Left, to enable the voices of those excluded from power to be explored and heard, and to offer up an alternative version of disciplinary geographical knowledge-making.
    [Show full text]
  • Research Report 2015
    INTRODUCTION 2015 saw a further busy year for all involved in research at IWM, and for our growing numbers of partners and collaborators. Highlights among externally-funded research activities were the AHRC (Arts and Humanities Research Council)-funded International Research Network on the academic potential of the BBC Monitoring transcripts collection; IWM’s involvement in two of the AHRC’s tenth anniversary events; an excellent conference in which IWM’s Collaborative Doctoral Partnership (CDP) students played a prominent role; and further involvement with the HERA (Humanities in the European Research Area) project Cultural Exchange in a Time of Global Conflict: Colonials, Neutrals and Belligerents during the First World War. Across IWM as a whole, our curators, historians and other staff applied themselves vigorously to a wide range of research activity. The First World War Centenary continued to place heavy demands on specialists in this field, who were heard on the radio, published in newspapers and who devised a major travelling exhibition on the First World War for audiences in Australia and New Zealand. IWM Contemporary – an exhibition programme dedicated to photography and art by contemporary practitioners – is now in its third year. The programme aims to build and enhance IWM’s reputation as a source of expertise in contemporary conflict and visual culture. It has given opportunities to staff – notably Hilary Roberts, Kathleen Palmer and Sara Bevan – to curate cutting-edge exhibitions, all underpinned by rigorous research. Additionally, in October a new IWM CDP studentship began, focused on contemporary art and conflict and working directly with the IWM Contemporary programme.
    [Show full text]
  • Annual Report and Account 2015-2016
    IMPERIAL WAR MUSEUMS ANNUAL REPORT AND ACCOUNT AND REPORT ANNUAL MUSEUMS WAR IMPERIAL Annual Report and Account 2015–2016 2015–2016 VISIT US AT: IWM LONDON IWM NORTH IWM DUXFORD CHURCHILL WAR ROOMS HMS BELFAST IWM.ORG.UK HC 434 Imperial War Museum Annual Report and Account 2015–2016 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 18 July 2016 HC 434 1 © Crown copyright 2016 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3 or write to the Information Policy Team, The National Archives, Kew, London TW9 4DU, or email: [email protected]. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at www.gov.uk/government/publications Any enquiries regarding this publication should be sent to us at [email protected] Print ISBN 9781474128414 Web ISBN 9781474128421 ID 12021604 06/16 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic objectives 5 3. Achievements and performance 6 4. Plans for future periods 19 5. Financial review 22 6. Human resources policies 25 7. Environmental sustainability report 27 8. Reference and administrative details of the charity, 33 the Trustees and advisers 9.
    [Show full text]
  • Assignment Three Re-Appropriating Images
    Assignment three Re-appropriating images Original image The Hay Wain (1821) by John Constable Oil on canvas (130.2 x 185.4cm) – National Gallery, London Re-appropriated image The Hay Wain with Cruise Missiles (1980) by Peter Kennard Chromolithograph and photographs on paper (Tate) Sara Waterer 511909 | Creative Arts Today | Visual Communications | Assignment 3 | November 2016 1 Page Of Missiles and Mills – how Constable’s Hay Wain was transformed by Peter Kennard into a provocative campaign weapon In this essay I aim to explore how and why Peter Kennard (born 1949) re- appropriated The Hay Wain, an idyllic landscape painting by John Constable (1776- 1837) to create a provocative image to support the Campaign for Nuclear Disarmament (CND). The Hay Wain (1821) Constable, the son of a prosperous miller, was born in 1776 in East Bergholt less than two miles from the site of The Hay Wain. After his marriage he settled in London but spent summers in Suffolk painting the scenes which he said 'made me a painter'. The Hay Wain depicts a tranquil countryside scene immediately recognisable to many people. A river flows slowly past a pretty mill and cottage. The background includes sturdy oaks, a verdant meadow and haymakers at work. In the foreground a dog plays on the river bank while middle left a woman washes clothes. The eye is led to a horse drawn wagon (the hay wain) in the river and the two farm workers on board. We are looking at Flatford Mill and Willy Lott’s cottage on the River Stour in the Dedham Vale, an area of Suffolk we call Constable Country today.
    [Show full text]