State 17QUN Layout 1

Total Page:16

File Type:pdf, Size:1020Kb

State 17QUN Layout 1 FREE 17 | HOT&COOL ART SETTING THE PACE ROBERT FRASER BRIAN CLARKE 2014 BRIAN CLARKE ADVENTURES IN ART DAFYDD JONES KLAUS STAUDT LIGHT AND TRANSCENDENCE ams Trust Albert Ad © , Acrylic on canvas, 127 x 114cm , Acrylic on canvas, The Captive image: Klaus Staudt (b. 1932 Otterndorf am Main, Germany) 1/723 SG 86, Diagonal, 1992, Acrylic, wood and plexiglas, 76.5 x 76.5 x 7.5 cm, 30 1/8 x 30 1/8 x 3 inches ALBERT ADAMS (1930 – 2006) PAINTINGS AND ETCHINGS THE MAYOR GALLERY %46-0ď 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ 30 May – 10 July 2015 UNIVERSITY GALLERY Northumbria University Sandyford Road Newcastle upon Tyne NE1 8ST TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 T: 0191 227 4424 E: [email protected] www.universitygallery.co.uk [email protected] www.mayorgallery.com 29 MAY 2015 CHARLIE SMITH london Anti-Social Realism Curated by Juan Bolivar & John Stark 3 April – 9 May 2015 Dominic Shepherd 15 May – 20 June 2015 Emma Bennett 26 June – 25 July 2015 336 Old Street, London EC1V 9DR, United Kingdom +44 (0)20 7739 4055 | [email protected] www.charliesmithlondon.com | @CHARLIESMITHldn Wednesday–Saturday 11am–6pm or by appointment Emma Bennett, ‘Tender Visiting’, 2014 Oil on canvas 50x40cm Visiting’, Emma Bennett, ‘Tender DIARY NOTES COVER IMAGE DAFYDD JONES Brian Clarke, 2015 Photographed at Pace Gallery Burlington Gardens London FOOLS RUSH IN Brian Clarke added curating to his many talents when he agreed The FRANCIS BACON MB Art Foundation, established by Majid Boustany and based in to produce a tribute to his former agent, gallerist and friend, Robert Fraser. At the invitation of Mollie Dent-Brocklehurst, Clarke Monaco, is a private non-profit institute dedicating its scholarly activities and research to teamed up with Harriet Vyner (one time Fraser biographer) to cre- Joking Aside the Lascaux Caves, near the village of French government have just spent the most uncompromising and enigmatic British figurative artist of the post-war era. ate a highly acclaimed survey of Fraser’s two gallery career – first- Montignac in south-western France. 56 million euros and several years creating ly in the ‘60s and latterly the ‘80s. Clarke’s aim was to conjure the IT IS (or, maybe, was) Here, we are told, art lovers wander a near-exact replica of the Chauvet Cave ‘essence’ of Fraser’s energy and originality – and to restore the every art student’s dream in awe through the two most famous (discovered 1994, in Vallon Pont d'Arc) – The Foundation’s mission is to promote a deeper understanding of the work and life of late dealer’s reputation as one of London’s brightest art stars. to borrow the work of illustrated chambers – The Hall of Bulls about 1.2 miles away from the real some famous artist to and The Axial Gallery. As well they thing, which includes more than 400 Francis Bacon worldwide. This institute will: support original research, sponsor emerging exhibit in the place of might. For these were painted in 1983 paintings of horses, bears, rhinoceros their own degree show – by local artist Monique Peytral, tasked and mammoths, hand prints and artists, organize exhibitions and seminars on Francis Bacon with local and international and be failed by the with copying the prehistoric artwork on carvings made c.30,000 years ago. assessors. Thus proving that an older to the walls of a concrete replica cavern. The government closed Chauvet to the institutions, and fund projects related to the artist. generation of art teachers couldn’t tell It took her 11 years to reproduce the public immediately – for reasons of their Arp from their Ensor. Today, an 17,300-year-old wall paintings that reside ‘preservation’. This replica opens in May. HOT & COOL ART overfamiliarity with almost everything – in a cave 200 metres away. The French The Estate of Francis Bacon welcomes the Foundation and will collaborate with it on thanks to the internet – makes this rather government decided back in 1963 EDITOR Lyle Owerko Kingsley Amis era joke pretty much a that visitors and strong lighting were Fine Art of Food research and educational activities. The art historian Martin Harrison, editor of the Francis contaminating the precious originals, Mike von Joel NEW YORK non-starter. Probably on a par with discovered on 12 September 1940 by IT IS ALWAYS interesting when a man Bacon Catalogue Raisonné, is on the board of this institute. [email protected] Anne Chabrol having an empty room and an instruction to switch a light on and off. 18-year-old Marcel Ravidat and three or woman of ideas makes serious money PARIS PUBLISHER friends, Jacques Marsal, Georges Agnel, and is able to forge ahead unbridled. Karl Skogland David Tidball The mighty IKEA corporation tried out and Simon Coencas. It is the ersatz Even Larry Gagosian’s detractors cannot The Foundation is open to scholars and art historians throughout the year and to the [email protected] BERLIN their own version of another well-worn Lascaux II that now thrills visitors to fault the cool architectural beauty of his general public, by appointment only. art joke recently. At MoMA, Arnhem, the site. majestic art emporia, the museum quality Jeremy Levison Elizabeth Crompton exhibitions he stages with free access to [email protected] MELBOURNE Netherlands (the Dutch do like this sort of thing) they installed one of their $10 Actually, the most interesting thing about the interested and his acumen as a dealer. FRANCIS BACON MB Art Foundation DEPUTY EDITOR decorative paintings and had a ‘curator’ the Lascaux drawings was proposed by I mean, what is not to like? Years of Anna McNay discuss it with visitors. Naturally, the archaeologist Marc Azéma of the parting otherwise savvy business moguls 21, Boulevard d’Italie [email protected] ‘famous Swedish artist, Ike Andrews’, University of Toulouse-Le Mirail. He from their $millions for works by living MC 98000 Monaco was much praised for his work and claims prehistoric man had a rudimentary artists has obviously given him a real SPECIAL PROJECTS ADMINISTRATION guesstimates of value ran into thousands understanding of the principle of insight into the psyche of the too-rich Tel: +377 93303033 Francis Foni Julie Milne of euros. Red faces all round then, but persistence of vision. Azéma has identified and their social insecurities. Now he has [email protected] www.mbartfoundation.com / Email : [email protected] [email protected] it is not that difficult to trick casual 53 paintings in 12 French caves, which repeated this enviable trick with a new AD EXECUTIVE PUBLISHED BY visitors to a provincial gallery on a superimpose two or more images to Upper East Side restaurant, Kappo Masa, Julie Milne State Media Ltd. weekday afternoon. apparently represent movement. Lascaux the 82-seat, windowless restaurant opened LONDON has the greatest number of these. When six months ago in Gagosian’s Madison CORRESPONDENTS [email protected] How much more fun this would have these paintings are viewed by flickering Avenue gallery basement.(1) Larry’s Clare Henry been at MoMA, New York. The IKEA firelight (as opposed to a steady candle partner is locally famous Japanese chef, Ian McKay flame) the animated effect 'achieves Masayoshi ‘Masa’ Takayama, and it is PRINTED BY team probably baulked at the risk of mass William Varley Garnett Dickinson litigation for ‘humiliation’ and ‘distress’ its full impact', he noted. This theory already the hottest of hot tickets. Despite Holly Howe Rotherham S63 5DL from those art lovers who stride around is backed up by the discovery of flying in fresh ingredients like clams and the museum giving everyone in earshot ancient engraved bone discs used as octopus daily from as far away as Japan their opinion on art and artists – but are thaumatropes, supposedly invented in and his NYC flagship, Masa, boasting 1825 by astronomer John Herschel. one Michelin star, this deluxe sushi den STATE MAGAZINE is available through selected most unlikely to have a Dutch sense of humour. However, it would have been A popular Victorian toy, thaumatropes has been universally panned by food galleries, libraries, art schools, museums and amusing to see IKEA corral a big fish (literally meaning 'miracle wheels') were critics. The main gripe is that it is so eye other art venues across the UK. collector and hear their view on ‘Ike discs or cards with a picture on each side wateringly expensive (one roll of Masa Andrews’. But of course I forgot. It has attached to a piece of string that, when Toro with caviar, $240; maki rolls, $240; Totally free, STATE is about new already been done in New York – at a rotated, tricked the eye into seeing beef tataki, $150) that The New York manoeuvres in painting and the place called Knoedler Galleries, where movement. One rare Stone Age bone Times decided: ‘the cost of eating at visual arts – combined with f22, they snagged the crème de la crème of disc, found in 1868 in the Dordogne, Kappo Masa is so brutally, illogically, a supplement on developments in hotshot collectors and sold them a few features a standing doe, while on relentlessly high, and so out of proportion the reverse the animal is lying down. to any pleasure you may get.’ One the fusion of art & photography. $10 paintings for a total of $80 million. And it was true – they did not have a Spun, the animal appears to get up socialite supporter retorted smugly: ‘It’s sense of humour about it. Not at all. and down repeatedly. a club for the 1% of the 1% and nobody It is not a review magazine – pretends it’s not.’ What it actually is is it is about PEOPLE worth serious Meanwhile, Lascaux III, a virtual tour Larry Gagosian’s incomparable skill at consideration; PLACES that Eye Fool of the entire cave at The Field Museum stroking the delicate egos of the privileged are hot and happening; and (Chicago) offers: state-of-the-art rich while simultaneously lifting the cash PROJECTS developing in the AROUND 1900, press baron Alfred computer animations, digital imaging from their wallets.
Recommended publications
  • 2017 Abstracts
    Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales.
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • Sculptor Nina Slobodinskaya (1898-1984)
    1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia.
    [Show full text]
  • AZIENDA OSPEDALIERA DEI COLLI Monaldi-Cotugno-CTO Sede: Via Leonardo Bianchi 80131 NAPOLI
    AZIENDA OSPEDALIERA DEI COLLI Monaldi-Cotugno-CTO Sede: Via Leonardo Bianchi 80131 NAPOLI Servizio proponente: UOC Servizio Provveditorato DETERMINA DIRIGENZIALE n° 390 del 28/05/2018 OGGETTO:FORNITURA BRONCOSCOPI. AFFIDAMENTO AI SENSI DELL`ART. 36, COMMA 2, LETT. A) D.LGS 50/2016. CIG: Z6523C580A AZIENDA OSPEDALIERA DEI COLLI Monaldi-Cotugno-CTO Sede: Via Leonardo Bianchi 80131 NAPOLI Servizio proponente: UOC Servizio Provveditorato DETERMINA DIRIGENZIALE OGGETTO: FORNITURA BRONCOSCOPI. AFFIDAMENTO AI SENSI DELL`ART. 36, COMMA 2, LETT. A) D.LGS 50/2016. CIG: Z6523C580A REGISTRAZIONE CONTABILE ☐ Il presente provvedimento non comporta oneri diretti a carico dell’Azienda X Il presente provvedimento comporta oneri diretti a carico dell’Azienda come da allegata scheda computerizzata Il Direttore dell'UOC Provveditorato Visto l'art. 17 del D. lgs. 30.3.2001 n.165; Vista la Deliberazione del Direttore Generale della AO dei Colli n.503 del 08/05/2017 ad oggetto: "Regolamento delle autonomie, competenze e funzioni dei Dirigenti preposti alla direzione delle UU.OO e Dipartimenti dell'Azienda Ospedaliera dei Colli."; Premesso : Che il Responsabile dell’ Ingegneria Clinica ha espresso la necessità di fornitura di n. 2 broncoscopi da destinare all’ U.O.C. di Anestesia e Rianimazione dell’ ospedale “C.T.O” (allegato A); Che, come si vince dall’ attività amministrativa di cui alla documentazione allegata, attività condotta dallo stesso ingegnere Clinico, la fornitura integra e completa attrezzature “OLYMPUS” già presenti in reparto; Che, pertanto,
    [Show full text]
  • Aida Mahmudova Passing
    Aida Mahmudova Passing By… May 28 – July 3, 2015 Aida Mahmudova, Rambling Vine, 2015, Mixed media on canvas, 65 x 82.6 in / 165x210cm Courtesy of the artist, Yay Gallery, Baku and Leila Heller Gallery, New York Opening Reception: May 28, 6 - 8 pm 568 W 25th Street New York, NY 10012 New York, NY – Aida Mahmudova’s first solo exhibition in the United States, Passing By…, will be on view at Leila Heller Gallery, 568 West 25th Street, from May 28 – July 3, 2015. The exhibition will feature eight new paintings that build on the themes of nostalgia and memory found in her past work and draw inspiration from the landscape and architecture of Azerbaijan where she currently lives and works. 568 West 25th Street New York, NY 10001 | Tel: +1 212 249 7695 Fax: +1 212 249 7693 www.LeilaHellerGallery.com Mahmudova animates the surface of the canvas drawing attention to both the process of painting and the material qualities of the paint itself. Mahmudova plays with depth, perspective and scale, creating large-scale scenes that draw in the viewer. A structure of bold planes of color is combined with layers of textured brushstrokes. The painted surface is further animated and enlivened with the addition of materials such as polyurethane foam over which an impasto application of paint is applied to build volume. In this series of paintings, Mahmudova explores the idea of impermanence. The works provide glimpses of Azerbaijan’s natural surroundings, urban environment and architecture—a backdrop that is undergoing constant and rapid change. Where one expects to see contrasting images of gleaming new construction alongside historic vestiges of Islamic architecture, Mahmudova instead focuses on modest structures on the peripheries of urban centers as they compete and coalesce with the native foliage.
    [Show full text]
  • Magazine Media
    SEPTEMBER 2012: IMAGES & ICONS M M MediaMagazine edia agazine Menglish and media centre issue 41 | septemberM 2012 FEMINIST ICONS OF NORDIC NOIR THE ICONOGRAPHY OF THE ALBUM COVER STEVE JOBS AND THE ICONIC APPLE THE ICONOGRAPHY OF THE WESTERN english english and media centre SELF-IMAGE AND THE | issue | 41 issue | september 2012 MEDIA ICONS IN THE HOOD MM MM MediaMagazine is published by the English and Media Centre, a Welcome to new readers just starting out on your media and non-profit making organisation. film journey – and welcome back to those of you returning to A2 The Centre publishes a wide range and other Level 3 courses. of classroom materials and runs courses for teachers. If you’re This first issue of the year is on Images and Icons – traditionally studying English at A Level, look out the first port of call in Media Studies. You’ll already be well for emagazine, also published by practised in reading and analysing still and moving images, but the Centre. what’s this slippery term icon? And what does iconography mean in the context of The English and Media Centre Media Studies? You’ll know the word from the graphic symbols on your desktop, but 18 Compton Terrace that’s only one meaning. At its simplest, it’s described as: ‘An image; a representation’ London N1 2UN or ‘a symbol resembling the thing it represents’. Most definitions remark on the Telephone: 020 7359 8080 term’s derivation from religious imagery: ‘the representation or picture of a sacred Fax: 020 7354 0133 or sanctified Christian personage, traditionally used and venerated in the Eastern Email for subscription enquiries: Church’ (http://www.thefreedictionary.com/icon).
    [Show full text]
  • The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
    The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice.
    [Show full text]
  • British Art Studies September 2019 London, Asia, Exhibitions, Histories
    British Art Studies September 2019 London, Asia, Exhibitions, Histories Edited by Hammad Nasar and Sarah Victoria Turner British Art Studies Issue 13, published 30 September 2019 London, Asia, Exhibitions, Histories Edited by Hammad Nasar and Sarah Victoria Turner Cover image: Rubber shavings made during Bettina Fung's performance of "Towards All or Nothing (In Memory of Li Yuan-chia)" at Manchester Art Gallery, 6 March 2019.. Digital image courtesy of Bettina Fung. PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Curating the Cosmopolis, Iwona Blazwick and Rattanamol Singh Johal Curating the Cosmopolis Iwona Blazwick and Rattanamol Singh Johal Abstract Century City: Art and Culture in the Modern Metropolis was the first temporary exhibition mounted at Tate Modern from February to April 2001.
    [Show full text]
  • National Portrait Gallery Account 2002-2003
    MUSEUMS AND GALLERIES ACT 1992 Account, of the National Portrait Gallery prepared pursuant to Act 1992, c.44, para 9(7) for the year ended 31 March 2003, together with the Report of the Comptroller and Auditor General thereon. (In continuation of House of Commons Paper No. 1138 of 2001-2002.) Presented pursuant to Museums and Galleries Act 1992, c. 44, para. 9(8). National Portrait Gallery Account 2002-2003 ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 16 JULY 2003 LONDON: The Stationery Office 30 October 2003 HC 1019 £8.50 The National Audit Office scrutinises public spending on behalf of Parliament. The Comptroller and Auditor General, Sir John Bourn, is an Officer of the House of Commons. He is the head of the National Audit Office, which employs some 800 staff. He, and the National Audit Office, are totally independent of Government. He certifies the accounts of all Government departments and a wide range of other public sector bodies; and he has statutory authority to report to Parliament on the economy, efficiency and effectiveness with which departments and other bodies have used their resources. Our work saves the taxpayer millions of pounds every year. At least £8 for every £1 spent running the Office. This account can be found on the National Audit Office web site at www.nao.gov.uk National Portrait Gallery Account 2002-2003 Contents Page Foreword and Annual Report 2 Annex to the Foreword 12 Statement of Trustees’ and Directors’ responsibilities 13 Statement on Internal Control 14 The Certificate and Report of the Comptroller and Auditor General 15 Summary Income and Expenditure Account 17 Statement of Financial Activities 18 Balance Sheet 20 Cash Flow Statement 21 Notes to the Accounts 22 1 National Portrait Gallery Account 2002-2003 Foreword and Annual Report Status The Museums and Galleries Act 1992 established the corporate status of the Board of Trustees of the National Portrait Gallery.
    [Show full text]
  • NGA4 Harold Isherwood Kay Papers 1914-1946
    NGA4 Harold Isherwood Kay Papers 1914-1946 GB 345 National Gallery Archive NGA4 NGA4 Harold Isherwood Kay Papers 1914-1946 5 boxes Harold Isherwood Kay Administrative history Harold Isherwood Kay was born on 19 November 1893, the son of Alfred Kay and Margaret Isherwood. He married Barbara Cox, daughter of Oswald Cox in 1927, there were no children. Kay fought in the First World War 1914-1919 and was a prisoner of war in Germany in 1918. He was employed by the National Gallery from 1919 until his death in 1938, holding the posts of Photographic Assistant from 1919-1921; Assistant from 1921-1934; and Keeper and Secretary from 1934-1938. Kay spent much of his time travelling around Britain and Europe looking at works of art held by museums, galleries, art dealers, and private individuals. Kay contributed to a variety of art magazines including The Burlington Magazine and The Connoisseur. Two of his most noted articles are 'John Sell Cotman's Letters from Normandy' in the Walpole Society Annual, 1926 and 1927, and 'A Survey of Spanish Painting' (Monograph) in The Burlington Magazine, 1927. From the late 1920s until his death in 1938 Kay was working on a book about the history of Spanish Painting which was to be published by The Medici Society. He completed a draft but the book was never published. HIK was a member of the Union and Burlington Fine Arts Clubs. He died on 10 August 1938 following an appendicitis operation, aged 44. Provenance and immediate source of acquisition The Harold Isherwood Kay papers were acquired by the National Gallery in 1991.
    [Show full text]
  • Renaissance Art and Architecture
    Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy.
    [Show full text]
  • Love Me, Love Me Not Contemporary Art from Azerbaijan and Its Neighbours Collateral Event for the 55Th International Art Exhibition – La Biennale Di Venezia
    Love Me, Love Me Not Contemporary Art from Azerbaijan and its Neighbours Collateral Event for the 55th International Art Exhibition – la Biennale di Venezia Moshiri and Slavs and Tatars, amongst selected artists. Faig Ahmed, Untitled, 2012. Thread Installation, dimensions variable Love Me, Love Me Not is an unprecedented exhibition of contemporary art from Azerbaijan and its neighbours, featuring recent work by 17 artists from Azerbaijan, Iran, Turkey, Russia, and Georgia. Produced and supported by YARAT, a not-for-profit contemporary art organisation based in Baku, and curated by Dina Nasser-Khadivi, the exhibition will be open to the public from 1st June until 24 th November 2013 at Tesa 100, Arsenale Nord, at The 55th International Art Exhibition – la Biennale di Venezia. Artists featured: Ali Hasanov (Azerbaijan) Faig Ahmed (Azerbaijan) Orkhan Huseynov (Azerbaijan) Rashad Alakbarov (Azerbaijan) Sitara Ibrahimova (Azerbaijan) Afruz Amighi (Iran) Aida Mahmudova (Azerbaijan) Taus Makhacheva (Russia) Shoja Azari (Iran) Farhad Moshiri (Iran) Rashad Babayev (Azerbaijan) Farid Rasulov (Azerbaijan) Mahmoud Bakhshi (Iran) Slavs and Tatars (‘Eurasia’) Ali Banisadr (Iran) Iliko Zautashvili (Georgia) "Each piece in this exhibition has a role of giving the viewers at least one new perspective on the nations represented in this pavilion, with the mere intent to give a better understanding of the area that is being covered. Showcasing work by these artists in a single exhibition aims to, ultimately, question how we each perceive history and geography. Art enables dialogue and the Venice Biennale has proven to be the best arena for cultural exchange." explains curator Dina Nasser-Khadivi. The exhibition offers a diverse range of media and subject matter, with video, installation and painting all on show.
    [Show full text]