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Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Who Owns the Art World? an Online Panel Discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This Short Panel
A DACS panel discussion, 14 March 2018 Who Owns the Art World? An online panel discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This short panel debate took place during DACS’ Annual Strategy Day, as we thought about the context in which artists are currently working and how best DACS could best support artists and artists’ estates in the future. The Panel Mark Waugh (Chair) is the Business Development Director at DACS. Hayley Newman, Artist and Reader of Fine Art, Slade School of Fine Art, UCL. Morgan Quaintance, writer, musician, broadcaster and curator. Richard Parry, Artist. Mark Waugh (MW): Welcome, and we’re live again at DACS, this time from RIBA, and we’re live with a specific question, it’s quite a simple question – “Who Owns the Art World?” And to answer that, what we’re going to have three presentations, one from Richard Parry, one from Hayley Newman and one from Morgan Quaintance. They come from very particular positions and I think you’ll be able to understand what those positions are after the presentations. Essentially, all three of them share a discourtesy of concern with that question of ownership - and not only the ownership of the art world in a conceptual and a material sense - but also in what the role and agency of the artist is, and indeed, art is, in that context. And we’re asking that in the context of DACS as an organisation which has a 30-year history of thinking about what artists can do to empower themselves and support each other. -
Anya Gallaccio
Anya Gallaccio 1963 Born in Paisley, Scotland Lives and works in London, UK Education 1985-1988 Goldsmiths’ College, University of London, UK 1984-1985 Kingston Polytechnic, London, UK Residencies and awards 2004 Headlands Center for the Arts, Sansalitos, California, US 2003 Nominee for the Turner Prize, Tate Britain, London, UK 2002 1871 Fellowship, Rothermere American Institute, Oxford, UK San Francisco Art Institute, California, US 1999 Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK 1999 Kanazawa College of Art, JP 1998 Sargeant Fellowship, The British School at Rome, IT 1997 Jan-March Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio Texas, US Solo Exhibitions 2015 Lehmann Maupin, New York, US 2014 Stroke, Jupiter Artland, Edinburgh, UK SNAP, Art at the Aldeburgh Festival, Suffolk, UK Blum&Poe, Los Angeles, US 2013 This much is true, Artpace, San Antonio, Texas, US Creation/destruction, The Holden Gallery, Manchester, UK 2012 Red on Green, Jupiter Artland, Edinburgh, UK 2011 Highway, Annet Gelink Gallery, Amsterdam, NL Where is Where it’s at, Thomas Dane Gallery, London, UK 2010 Unknown Exhibition, The Eastshire Museums in Scotland including the Dick Institiute, the Baird Institute and the Doon Valley Museum, Kilmarnock, UK 2009 Inaugural Exhibition, Blum & Poe Gallery, Los Angeles, CA, US Lehmann Maupin Gallery, New York, US 2008 Comfort and Conversation, Annet Gelink Gallery, Amsterdam, NL That Open Space Within, Camden Arts Center, London, UK Kinsale -
My Article in the Last Issue of Finch's Quarterly About the Royal Academy's Summer Exhibition Achieved a Very Modest Degree
Hungary for Culture Charles Saumarez Smith takes issue with the line of Brian (Sewell) and looks forward to the Royal Academy’s Treasures from Budapest exhibition My article in the last issue of Finch’s Quarterly about the Royal Academy’s Summer Exhibition achieved a modest degree of fame by being quoted in Brian Sewell’s review of this year’s exhibition in the Evening Standard: As its chief executive put it in the current edition of a journal of which he is arts editor, the Academy holds “the 18th-century view that the best judges of art are not the critics but the public. Critics may sneer, but the public continues to enjoy the Summer Exhibition precisely because it gives them an opportunity to make up their own minds about what to like.” Sewell went on to say: The public can make up its mind about fish and chips and jellied eels, but to put it in charge of the kitchens of The Ritz would not be wise. And I am less sure that Charles Saumarez Smith’s contempt for critics was widely held anywhere in Europe in the 18th century, the Age of Reason, when the Enlightenment held sway; and even if it were, then the public to which he refers was not the ancestor of some bloke on the Clapham bendy-bus, but an educated gentleman with the benefits of private tutoring, Eton, Oxbridge and the Grand Tour, as ready with a Greek or Latin tag as our beloved Boris Johnson. The chief executive will find little of that background among the old biddies from Berkshire up for the day. -
Proquest Dissertations
THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Download Our Guide To
BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland. -
Press Release
FOR IMMEDIATE RELEASE CONTACT : LOCKS GALLERY 215.629.1000 / 215.629.3868 fax [email protected] Thomas Chimes On Alfred Jarry June 18–July 16, 2010 Gallery Hours: Tuesda y–Saturday, 10a m–6pm Summer Hours (July-August): Monday –Friday, 10a m–6pm Concerning Bosse de nage cynocephalus, 1990, oil on wood, 36 x 39 7/8 inches June 2010, Philadelphia, PA – Locks Gallery is pleased to present an exhibition of paint - ings by Thomas Chimes. Thomas Chimes: On Alfred Jarry, will be on view at Locks Gallery from June 18 through July 16th, 2010. Alfred Jarry, the French poet and playwright, and originator of Pere Ubu was a frequent subject of Thomas Chimes’s paintings. Having discovered Jarry in the early 60s and sketched drawings of Ubu in 1966, Chimes’ first painted image of Alfred Jarry dates to 1973. This presentation of Chimes’ work focuses on both Jarry’s image and his writing as a subject for Chimes and includes paintings created between 1976 and 2002. As Michael Taylor noted in his 2007 retrospective of Chimes, of all his artistic forebears and influences, Jarry was the foremost, and Chimes continued to draw inspiration from his writing up through his last works. On view are several paintings from the 80s - profile views of Jarry, a series of “white por - traits” that became among the artist’s best known works; several of these paintings are borrowed from private collections for this display. With a career spanning over five decades, the work of Thomas Chimes is in the collec - tions of such museums as the Allentown Art Museum, Centre Pompidou National (over) 600 Washington Square South Philadelphia PA 19106 tel 215.629.1000 fax 215.629.3868 [email protected] www.locksgallery.com Museum of Modern Art, Paris, Corcoran Museum of Art, Delaware Art Museum, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, National Gallery of Art, Washington, D.C., Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Phoenix Art Museum, Portland Art Museum, Smithsonian American Art Museum, Wadsworth Atheneum Art Museum and Yale University Art Gallery. -
Jan Lievens (Leiden 1607 – 1674 Amsterdam)
Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes. -
THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years. -
Huguenot Merchants Settled in England 1644 Who Purchased Lincolnshire Estates in the 18Th Century, and Acquired Ayscough Estates by Marriage
List of Parliamentary Families 51 Boucherett Origins: Huguenot merchants settled in England 1644 who purchased Lincolnshire estates in the 18th century, and acquired Ayscough estates by marriage. 1. Ayscough Boucherett – Great Grimsby 1796-1803 Seats: Stallingborough Hall, Lincolnshire (acq. by mar. c. 1700, sales from 1789, demolished first half 19th c.); Willingham Hall (House), Lincolnshire (acq. 18th c., built 1790, demolished c. 1962) Estates: Bateman 5834 (E) 7823; wealth in 1905 £38,500. Notes: Family extinct 1905 upon the death of Jessie Boucherett (in ODNB). BABINGTON Origins: Landowners at Bavington, Northumberland by 1274. William Babington had a spectacular legal career, Chief Justice of Common Pleas 1423-36. (Payling, Political Society in Lancastrian England, 36-39) Five MPs between 1399 and 1536, several kts of the shire. 1. Matthew Babington – Leicestershire 1660 2. Thomas Babington – Leicester 1685-87 1689-90 3. Philip Babington – Berwick-on-Tweed 1689-90 4. Thomas Babington – Leicester 1800-18 Seat: Rothley Temple (Temple Hall), Leicestershire (medieval, purch. c. 1550 and add. 1565, sold 1845, remod. later 19th c., hotel) Estates: Worth £2,000 pa in 1776. Notes: Four members of the family in ODNB. BACON [Frank] Bacon Origins: The first Bacon of note was son of a sheepreeve, although ancestors were recorded as early as 1286. He was a lawyer, MP 1542, Lord Keeper of the Great Seal 1558. Estates were purchased at the Dissolution. His brother was a London merchant. Eldest son created the first baronet 1611. Younger son Lord Chancellor 1618, created a viscount 1621. Eight further MPs in the 16th and 17th centuries, including kts of the shire for Norfolk and Suffolk. -
Download Publication
ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters .