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2017 Sussex Modernism Catal
Published to accompany the exhibition at CONTENTS Two Temple Place, London 28th January – 23rd April 2017 Exhibition curated by Dr Hope Wolf Foreword 04 Published in 2017 by Two Temple Place The Making of Sussex Modernism 2 Temple Place Dr. Hope Wolf, University of Sussex 08 London WC2R 3BD Sussex: A Modern Inspiration 56 Copyright © Two Temple Place Acknowledgements 68 A catalogue record for this publication is available from the British Library ISBN 978-0-9570628-6-3 Designed and produced by: NA Creative www.na-creative.co.uk Sussex Modernism: Retreat and Rebellion Produced by The Bulldog Trust in partnership with: Charleston, De La Warr Pavilion, Ditchling Museum of Art + Craft, Farleys House & Gallery, Jerwood Gallery, Pallant House Gallery, Towner Art Gallery, Royal Pavilion & Museums Brighton & Hove, University of Sussex, West Dean College 02 03 FOREWORD truly extraordinary cultural heritage of the counties of East and West Sussex and the breadth and diversity of the artists who made this area Charles M. R. Hoare, Chairman of Trustees, their home during the first half of the twentieth century. The Bulldog Trust We are delighted to have collaborated with nine celebrated museums and galleries in the production of this exhibition: Charleston, De La Warr Pavilion, Ditchling Museum of Art + Craft, Farleys House & The Bulldog Trust is delighted to welcome you to Sussex Modernism: Gallery, Jerwood Gallery, Pallant House Gallery, Towner Art Gallery, Retreat and Rebellion, our sixth Winter Exhibition at Two Temple Place. Royal Pavilion & Museums Brighton & Hove and West Dean. We are very grateful for their generosity in lending from their spectacular Two Temple Place was originally built as the estate office of William collections and for the time and knowledge they have shared, with Waldorf Astor, designed by eminent Gothic Revival architect, John particular thanks to Nathaniel Hepburn at Ditchling Museum of Art Loughborugh Pearson. -
Phantoms of Surrealism 19 May– 12 December 2021
Large Print Exhibition Guide Phantoms of Surrealism 19 May– 12 December 2021 Gallery 4 Phantoms of Surrealism These artwork captions start with the interpretation panel outside Gallery 4, and then continue on the left as you enter the gallery and follow in a clockwise direction. Continues on next page. 2 Introduction Phantoms of Surrealism examines the pivotal role of women as artists and behind-the-scenes animators of the surrealist movement in Britain. While some British women surrealists are gaining overdue recognition, the contribution of many others remains under examined. On 11 June 1936 Sheila Legge (1911–1949) stood in Trafalgar Square dressed in a white gown with her face entirely covered in red roses. Her appearance as a surrealist ‘phantom’ was an exceptionally early example of performance art. The event launched the International Surrealist Exhibition at London’s New Burlington Galleries. All of the women artists presented in Phantoms of Surrealism were crucial to the evolution of the movement in Britain; acting as exhibition organisers, committee secretaries, contributors of artworks and ideas or political campaigners. Continues on next page. 3 Ruth Adams (1893–1948), Elizabeth Andrews (1882– 1977), Eileen Agar (1898–1991), Claude Cahun (1894– 1954), Ithell Colquhoun (1906–1988), Diana Brinton Lee (1897–1982), Sheila Legge (1911–1949), Grace Pailthorpe (1883–1971), Elizabeth Raikes (1907–1942), Edith Rimmington (1902–1986) and Stella Snead (1910– 2006), participated either in the London International Surrealist Exhibition of 1936 or the anti-war Artists’ International Association (AIA) exhibition held at Whitechapel Gallery in 1939, which included a surrealist section. These two exhibitions are considered here in parallel, revealing artistic and political networks in the 1930s and the synergies and conflict between surrealist artists and the wider membership of the AIA. -
West Dean Layout V4.Indd
WEST DEAN ESTATE WHOLE ESTATE PLAN 2019–2029 A Landscape for Creative Inspiration Contents A ten-year vision for West Dean 3 STEWARDSHIP The South Downs National Park Vision 5 Composition of the Estate: Designations and 44 Setting and context 6 management plans Landscape character 46 CREATIVITY Special qualities: Seven special qualities of the 49 Origins of the College and its purpose 9 South Downs National Park The campus 10 Special qualities: Dark Skies and tranquility 51 Current building use on the campus 11 Case study: Astro-photography 52 Education and learning 13 Farms and farming 54 Visitors and tourism 18 Woodland and forestry 57 Case study: Biomass boiler 59 INSPIRATION Habitats for nature 61 Cultural appreciation 20 Heritage assets: Archaeology 64 West Dean College: The House and its collections 22 Heritage assets: Historic buildings 66 Art in the Landscape 26 West Dean College: Gardens and Parkland 71 West Dean Estate: A living landscape 27 Case study: Wildfl ower meadows at 75 Case study: Student accommodation 29 West Dean Gardens Community facilities and businesses 30 Weald & Downland Living Museum 76 Work and employment 32 Case study: The village shop 33 EXCELLENCE Local produce and traditional skills 34 Management approach: Ecosystem services 79 Recreation 35 SWOT analysis 81 Case study: Nuremberg Dolls House 36 Action plan 85 Consultation with community and stakeholders 89 CONSERVATION References and Credits 90 West Dean Estate in the context of the 38 South Downs National Park A view of the past 39 A ten-year vision for -
Artichoke House George Charman
Artichoke House George Charman 1 2 3 4 Contents George Charman / p. 4 -15 Artichoke House Marsha Bradfield & Lucy Tomlins / p. 18-27 Both in Progress: Artichoke House and a Typology of Sculpture Sharon-Michi Kusunoki / p. 30-41 Edward James and the Poetry of the Imagination John Warren / p. 44-49 Notes and Sketches David R J Stent / p. 50-57 The Pavilions of Xilitla 5 Artichoke House George Charman 4 I first encountered the sketch for ‘Artichoke House’ while wandering along the purple landing above the Oak Hall in Edward James’s family home at West Dean, now West Dean College. The sketch, sandwiched between Salvador Dalí’s Mae West Lips Sofa (1938) (commissioned by James for Monkton House) and Leonora Carrington’s Sketches of the Sphinx (1966), firmly locates Artichoke House within the Surrealist idiom that was James’s life. My project started life as an idea for a mould of an object that never existed, taking inspiration from James’s original design for ‘Artichoke House’ and from the mould-making technique of ‘shuttering’ (wooden planks or strips used as a temporary structure to contain setting concrete) that James employed in the construction of his monumental concrete forms in Xilitla, Mexico. I developed a series of drawings playing on the idea that James’s design for ‘Artichoke House’ was the mould by which Xilitla was cast. As well as highlighting the role of Edward James as a significant contributor to the history of surrealist architecture, Artichoke House aims to explore how the pavilion in its many modes of existence—as idea, image and object—encourages us to see anew. -
Creative Arts
PROSPECTUS An affiliated CAONSERV TION partner of the CREATIVE Arts 2017 – 18 FOUNDATION, DIPLOMA AND MASTERS 2017 – 18 WEST DEAN COLLEGE, THE EDWARD JAMES FOUNDATION LTD DIRECTOR OF EDUCATION CHIEF EXECUTIVE TRUSTEES The Edward James Foundation Ltd West Dean, Chichester, West Sussex, PO18 0QZ, England Francine Norris BA (Hons) MA FRSA Alexander Barron ACA The Hon Peter Benson LVO MA FCA (Chairman) Charity number 1126084 Francis Plowden FCA (Treasurer) Company number 6689362 +44 (0) 1243 818291 Lady Caroline Egremont [email protected] Caroline Griffith www.westdean.org.uk Professor Nigel Llewellyn PhD FSA David Seddon Professor Paul O’Prey CBE +44 (0) 1243 818291 [email protected] www.westdean.org.uk 2 COS NTENT 4 Welcome 5 West Dean College 5 Affiliation with the University of Sussex 6 Open Days and Visits 6 Why Choose West Dean 7 Courses at West Dean College 8 SCHOOL OF CONSERVATION 9 Books and Library Materials 10 Ceramics (and Related Materials) 11 Clocks (and Related Objects) 12 Furniture and Related Objects 13 Metalwork 14 Collections Care and Conservation Management 15 Conservation Tutors 15 Conservation on Location 16 FDA Historic Craft Practices – Clocks, Furniture, Metalwork 17 SCHOOL OF CREATIVE ARTS 18 FDA Historic Craft Practices – Musical Instruments 19 Creative Writing and Publishing 20 Foundation Diploma in Art and Design (FDAD) 1 2 3 20 Diploma in Art and Contemporary Crafts (DACC) - New for 2017 21 Visual Arts 22 Visual Arts – Painting and Drawing 92% of students 22 Visual Arts – Sculpture said studying at 23 Visual Arts – Tapestry and Textile Art 23 Visual Arts – Student Exhibitions West Dean College 24 Artists in Residence has enhanced their 24 Access to Short Courses skills and abilities 25 STUDENT INFORMATION 4 2016 Student Survey 25 Living at West Dean 26 Admissions Process 27 Scholarships 28 Bursaries 29 Other Sources of Funding 30 Our Supporters 31 Fees 1. -
It's a Woman's World Women Artists Background for It's
IT’S A WOMAN’S WORLD WOMEN ARTISTS BACKGROUND FOR IT’S A WOMAN’S WORLD TOUR It’s a Woman’s World tour was designed for a large group that comes to the museum six times a year and has been doing this for many years. The tours last 1 ½ hours. I tried to show art that was newer to Mia or loans to Mia as well as some other long time pieces. I intentionally left out pieces by women artists that I know the group has seen many times like Berthe Morisot and Vigee Le Brun. I started with the poster of the Gueriila Girls that says “horror on the national Mall-Thousands of women locked in the basements of D.C. museums. I have attached a link to the article on the sources page. We talked about how it has taken hundreds of years for women artists to gain recognition for their talent. The struggle continues for many women artists who currently do not command the prices that male artists command or have the presence in museums and galleries that male artists have experienced. There are many statistics in the article. When showing the Arts and Crafts woodblock prints of women artists, we talked about the process of woodblock printmaking and the various stages of creating the artworks. We talked about the influence that Japanese printmaking had on the Impressionists and later artists. We also talked about how during the Arts and Crafts era people were rejecting the machine produced objects of the industrial age in favor of a return to traditional craftsmanship, like printmaking. -
Peter Sarginson
Discover MoreSpring Term 2017 Welcome to our Spring term 2017 newsletter. In our last edition, I mentioned we were developing a new ten year strategy and I’m pleased to give you, as a friend and supporter of West Dean College, a few headlines about what the future holds Martina Salvin, MFA Visual Arts, 2016 in advance of a more formal announcement later this year. The funding that these changes will require is significant, but ensures that students continue to gain the best possible experience and that We at the College have spent much of we are financially sustainable for the future. the last year assessing what we must do to achieve long-term sustainability for our But we cannot do it alone and we will need academic programmes and for the wider your help and support if we are to achieve West Dean community. We’ve listened to everything we’ve set out to. I hope I can the views of staff, students, funders, partners inspire you to join us on this exciting journey and employers and we’ve considered for the benefit of future generations of recent changes in education regulations, the artists, craftspeople and conservators and I industries we prepare students for and the thank you for all the support that you have political developments that are shaping the already shown us. world around us in unprecedented ways. With best wishes, Peter Sarginson At the heart of our strategic ambition is Alex Barron It is with great sadness, that we report to continue to deliver the highest quality Chief Executive that former West Dean College education in the creative and applied arts Principal, Peter Sarginson, died at his and also to make a lasting contribution to home in Yorkshire in March 2017.