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University of Copenhagen
Staged, yet unstaged Sociological inquiries into space and micro-interaction Liebst, Lasse Suonperä Publication date: 2014 Document version Other version Document license: Other Citation for published version (APA): Liebst, L. S. (2014). Staged, yet unstaged: Sociological inquiries into space and micro-interaction. Department of Sociology,University of Copenhagen. Download date: 03. okt.. 2021 LASSE SUONPERÄ LIEBST DEPARTMENT OF SOCIOLOGY faculty of social sciences UNIVERISTY OF COPENHAGEN · DENMARK university of copenhagen PHD THESIS 2014 · ISBN 978-87-7611-771-9 LAssE SUONPERÄ LIEbsT Staged, yet Unstaged Sociological Inquiries into Space and Micro-Interaction Staged, yet Unstaged · Sociological Inquiries into Space and Micro-Interaction Unstaged · Sociological Inquiries Space yet into Staged, Staged, yet Unstaged Sociological Inquiries into Space and Micro-Interaction LASSE SUONPERÄ LIEBST · PHD THESIS · 2014 Staged, yet Unstaged Staged, yet Unstaged Sociological Inquiries into Space and Micro-Interaction Lasse Suonperä Liebst PHD THESIS DEPARTMENT OF SOCIOLOGY UNIVERSITY OF COPENHAGEN Staged, yet Unstaged. Sociological Inquiries into Space and Micro-Interaction © Lasse Suonperä Liebst Ph.d.-afhandling Sociologisk Institut Det samfundsvidenskabelige fakultet Københavns Universitet Opsætning: Lasse Suonperä Liebst Sats: Garamond Omslag: SL Grafik Forside: Flyfoto af Roskilde Festival 2011 Tryk: SL Grafik, Frederiksberg C., Danmark (www.slgrafik.dk) ISBN: 978-87-7611-771-9 Indleveret til bedømmelse: 11. april 2014 Offentligt forsvar: -
Modern British & Irish
Modern British & Irish Art Tuesday 4 June 2013 at 1pm Knightsbridge, London Modern British & Irish Art Tuesday 4 June 2013 at 1pm Knightsbridge Bonhams Enquiries Please see page 2 for bidder Montpelier Street Emma Corke information including after-sale Knightsbridge +44 (0) 20 7393 3949 collection and shipment London SW7 1HH [email protected] www.bonhams.com Please see back of catalogue Shayn Speed for important notice to bidders Viewing +44 (0) 20 7393 3909 Sunday 2 June 11am to 3pm [email protected] Illustration Monday 3 June 9am to 4.30pm Front cover: Lot 167 Tuesday 4 June 9am to 11am Customer Services Back cover: Lot 19 Monday to Friday 8.30am to 6pm Inside front: Lot 76 Bids +44 (0) 20 7447 7447 Inside back: Lot 179 +44 (0) 20 7447 7448 +44 (0) 20 7447 7401 fax Sale Number: 20777 To bid via the internet please visit www.bonhams.com Catalogue: £12 Please note that bids should be submitted no later than 24 hours before the sale. New bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bids not being processed. Bidding by telephone will only be accepted on a lot with a lower estimate in excess of £400. Live online bidding is available for this sale Please email [email protected] with “Live bidding” in the subject line 48 hours before the auction to register for this service. Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. -
Victoria Morton the Modern Institute, Aird's Lane 08
Victoria Morton The Modern Institute, Aird’s Lane 08 November 2014 – 17 January 2015 Victoria Morton’s practice has encompassed painting, sculptural assemblages, found objects, photography, and sound. Her recent paintings vary in scale, opacity, colour and spatiality, each distinctly painted composition has been developed with a degree of intricacy and intuition. Influenced by musical composition, colour perception, and everyday life, alongside personal narratives, historical and cultural references, Morton’s works explore a continuously unfolding visual, spatial and psychological experience. Within her paintings she re-evaluates the complexity of visual representation and physical experience through a combination of layering, fragmentation and movement. Each painting works through the mental exercise of creating, disrupting, reforming and extending compositions. This technique builds a sense of time into her work. Morton’s exhibition at Aird's Lane focuses entirely on painting. Presenting a cycle of five large-scale oil paintings which specifically respond to the space in terms of their size and installation, offering a site for reflection. Each painting forms a narrative with the next. These works softly draw upon issues of health, the science of optics and light, and the idea of ‘free will’, as well as notions of representation. With washes of colour and variation in tone, line and brush stroke, individual paintings present a range of different attitudes and intensities within the framework of the installation. Luminous thin layers of paint draw you in, while concentrated, spontaneous compositions require you to step back. Morton’s areas of interest are explored through the filter of her daily life and rely on both photography and impulse. -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj
NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: May 6, 2016 MEDIA CONTACT FOR IMMEDIATE RELEASE Amy Hood Getty Communications (310) 440-6427 [email protected] J. PAUL GETTY MUSEUM PRESENTS LONDON CALLING: BACON, FREUD, KOSSOFF, ANDREWS, AUERBACH, AND KITAJ London Calling is the first major U.S. exhibition of these “School of London” artists July 26 – November 13 2016 at the J. Paul Getty Museum, Getty Center LOS ANGELES — From the 1940s through the 1980s, a prominent group of London- based artists developed new styles and approaches to depicting the human figure and the landscape. These painters resisted the abstraction, minimalism, and conceptualism that dominated contemporary art at the time, instead focusing on depicting contemporary life through innovative figurative works. On view at the J. Paul Getty Museum from July 26 to November 13, 2016, London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj represents the first major American museum exhibition to explore the leaders of this movement, often called the “School of London,” as central to a richer and more complex understanding of 20th century painting. The exhibition includes 80 paintings, drawings, and prints by Francis Leigh Bowery, 1991. Lucian Freud (British, born Germany, Bacon, Lucian Freud, Leon Kossoff, Michael 1922 - 2011). Oil on canvas. © Lucian Freud Archive / Andrews, Frank Auerbach, and R.B. Kitaj. Bridgeman Copyright Service. Tate: Presented anonymously 1994. Repro Credit: Photo © Tate, London 2016. “The majority of paintings and drawings in the Getty Museum’s collection are fundamentally concerned with the rendition of the human figure and landscape up to 1900,” says Timothy Potts, director of the J. -
By Roberta Smith July 22, 2019
By Roberta Smith July 22, 2019 Leon Kossoff, whose expressionistic portraits and images of urban life made him one of the most important painters of postwar Britain, died on July 4 in London. He was 92. The cause was complications of a stroke, said Annely Juda Fine Art, his London representative, and Mitchell-Innes & Nash in New York. Mr. Kossoff worked in a thick impasto that pitted energetic brushwork against the scenes he depicted. Subject matter flickered in and out of sight, disappearing into and then rising from the painted surface. Mr. Kossoff’s paintings could be challenging, but they also communicated a great warmth, both for the act of painting and for everyday life. His subjects were highly specific, and he painted them again and again, sometimes for years on end. The main ones were his family and friends, or models who became friends; the many glories of London (its pedestrians, its streets, its railway and underground stations and their trains); and old master paintings in the National Gallery. One motif for several years around 1970 was a public pool roiling with schoolchildren. His active surfaces had precedent in artists ranging from Rembrandt to Constable to van Gogh to Chaim Soutine and Willem de Kooning. Mr. Kossoff’s work was closest in appearance and spirit to that of the German-born British painter Frank Auerbach, five years his junior and a close friend during their early years. Like Mr. Kossoff, Mr. Auerbach favored a loaded brush and dense surfaces that conveyed both anxiety and largess. They both painted construction sites that sprang up around London as it rebuilt from the Blitz, and they were both indifferent to the distinction between abstraction and representation. -
MAGNE F + UFR CATALOG A5 SIZE.Indd
M A G N E F U R U H O L M E N CURATED BY CATHRINE EDWARDS M A G N E F U R U H O L M E N CURATED BY CATHRINE EDWARDS MAGNE FURUHOLMEN Furuholmen’s work is represented in “The goal was to create a park that can institutions and collections in his native be experienced in diferent ways at Norway and worldwide including London, diferent times of the year, with water in New York and Miami . the summer and dampness in winter as an atmospheric elements adding to changing Among his permanent public commissions lighting conditions.” says Furuholmen of the is ‘Resonance’ for The city of Bergen. Henie commission. Onstad Kunstsenter, Kunstgalleriet, Gallery Trafo, Norwegian Graphics Union and The The ‘imprints’ sculptural works form the Nobel Peace Center have all exhibited his basis for this limited edition collaboration work in Norway. with Urban Fabric Rugs curated by Cathrine Edwards. Three scultpures from the Furuholmen’s work with glass, paint, collection have been translated into four etching and woodcuts have been color compositions for this limited edition exhibited internationally at the Museum series of ten rugs each. Of Contemporary Glass Art and Gallery Christian Dam in Copenhagen; The London Art Fair and Paul Stolper Gallery in London along with Dovecot Studios in Edinburgh. Recently, Furuholmen has completed his largest commission to date for the Fornebuporten Ceramic Sculpture Park entitled “Imprints” consisting of 40 individual works, all executed in fired feldspath earthenware. URBAN FABRIC RUGS Urban Fabric Rugs are based on scale Urban Fabric place its bets on diference, maps extruded and meticulously cut out of clinging to the notion of uniqueness of place hand-tufted or hand-knotted New Zealand in the vein of Camillo Sitte’s City Planning virgin wool. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
M a R T I N B O Y
M A R T I N B O Y C E 1967 Born in Hamilton, Scotland Currently lives and works in Glasgow, Scotland Education 1995-1997 MFA, Glasgow School of Art 1996 California Institute for the Arts 1986-1990 BA Environmental Art, Glasgow School of Art Solo Exhibitions (* denotes catalogue) 2019 ‘A Thousand Future Blossoms’ Permanent Installation, 37, rue Sainte-Croix-de- la-Bretonnerie, Eataly Paris Marais, Paris An Inn For Phantoms Of The Outside And In, Mount Stuart, Isle of Bute, Scotland 2018 Esther Schipper Gallery, Berlin Martin Boyce: Hanging Gardes, A4 Art Museum, Chengdu, China * Remembered Skies, Tate Britain, London (site-specific permanent installation) 2017 All the Gravity, All the Air, Swiss Re, Zürich (public art commission) Light Years, The Modern Institute, Glasgow Beyond the Sea, Against the Sun, TELUS Garden, Vancouver (public art commission) Sleeping Chimneys. Dead Stars.,Tanya Bonakdar Gallery, New York Spotlight: Do Words Have Voices, 2011, Tate Britain, London 2016 Spook School, CAPRI, Düsseldorf, Germany Gasträume 2016, Zürich 2015 Martin Boyce, Museum für Gegenwartskunst Basel, Switzerland * Martin Boyce: When Now is Night, RISD Museum, Providence Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language, Galerie Eva Presenhuber, Zürich 2014 Stellar Remnants, Johnen Galerie, Berlin Galerie Eva Presenhuber, Zürich Billboard for Edinburgh: Martin Boyce, Ingleby Gallery, Edinburgh, Scotland 2013 Martin Boyce: It’s Over and Over, Tanya Bonakdar Gallery, New York All Over / Again -
Apparatjik Planningtorock the Otolith Group Keren Cytter Cao Fei Ei
Apparatjik 11.03.2011 Freitag | Friday Cao Fei 08.04.2011 Freitag | Friday 19:00 – 20:00 Jam Roll | Music 17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei 02.03.2011 Mittwoch | Wednesday 20:00 – 00:00 Johannes Paul Raether | Performance 30.03.2011 Mittwoch | Wednesday Tcherepnin, Left Over | Exhibition 17:00 – 18:00 apparat tv 22:00 – 22:45 No Bra | Music 17:00 – 00:00 Cao Fei | Film Mélanie Mermod, Ei Arakawa, Jikken Kobo: 18:00 – 19:00 Louise Lockwood, Parallel Worlds | Film 19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf Experimental Workshop | Exhibition 19:00 – 19:30 Blacksmoke, The Danger Global The Otolith Group 19:30 – 21:30 Cao Chong‘en, Clay & Belief | Live Sculpturing 19:00 – 20:00 March 2011 Osaka | Film Warming project | Film 22:00 – 23:30 Cao Fei, Father | Film 20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, 19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining 16.03.2001 Mittwoch | Wednesday True Urgent Talk | Performance & Installation Creativity. Creating Sustainability | Talk 18:00 – 18:30 Nasdaq Vocal Index | Film 31.03.2011 Donnerstag | Thursday 20:45 – 00:00 Programm vom 06.04, 20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark | 18:30 – 19:00 Samuel Stevens, Atlantropa | Film 17:00 – 00:00 Cao Fei | Film For the program on April 6 Film (Premiere); On Multiverses, an interview 19:00 – 20:00 Peter Hutton, At Sea | Film 19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, with Max Tegmark | Film (Premiere) 20:00 – 21:00 Lise Autogena & The Otolith Group, Coffee Yoga - Class Two: Double Espresso -
220719 Media Release 2019 Female Artist Acquistions FINAL
Media Release 25 July 2019 From Claire Francis Phone: 0141 287 5548/ 07393 287295 Email: [email protected] GLASGOW MUSEUMS TACKLES GENDER EQUALITY IN CONTEMPORARY ART COLLECTION WITH NEW ACQUISITIONS BY LOCAL AND INTERNATIONAL FEMALE ARTISTS Glasgow Museums is delighted to announce 14 recent acquisitions for the city’s fine art collection which include sculpture, video, painting and works on paper by artists Sara Barker, Kate Charlesworth, Michelle Hannah, Sharon Hayes, Winnie Herbstein, Mandy McIntosh and the Feegie Needlers, Carol Rhodes, Kate V Robertson, Anne Robinson, Siân Robinson Davies and Camara Taylor. Acquired as part of a significant strand of Glasgow Museums collecting approach, developed in 2015 to address gender inequality, these works make an unequivocal statement about the value and quality of work by contemporary women and non-binary artists. The new acquisitions increase the number of works by women in the Glasgow Museums’ fine art collection, which already includes internationally renowned artists Karla Black, Christine Borland Anne Collier, Jacqueline Donachie, Jenny Holzer, Barbara Kruger, Victoria Morton, Charlotte Prodger and Hito Steyerl. These recent acquisitions have been made possible through the support of a number of grant funders and organisations supporting the development of public collections. Of particular importance is acquisition of the capsule collection of work by Carol Rhodes (1959 -2018) which includes the painting Land Levels and Rises. Although Rhodes was one of the most respected and admired painters in Scotland, her work was until now not represented in the civic collection of Glasgow, the city where she lived and worked. The acquisition of this painting, and a subsequent generous gift of a framed drawing and three prints, acknowledge her contribution to visual art in the city and her standing as a key British painter of the late 20th and early 21st century. -
Kossoff a Life Spent Looking at the City
NOVEMBER 2013 INTHESTUDIO LEON KOSSOFF A LIFE SPENT LOOKING AT THE CITY !"# BY COLINE MILLIARD LEON KOSSOFF HAS DRAWN AND PAINTED London relentlessly for more than six decades. Today, at #$, he can still be found sketching the street corners that have inspired him throughout his remarkable career. London is “Kossoff’s Venice, his city of vistas and movement,” wrote Andrea Rose in the catalogue for “London Land- scapes,” a major exhibition that she curated for the artist’s four galleries—Annely Juda Fine Art in London, Galerie Lelong in Paris, and Mitchell-Innes & Nash in New York, where it is on view November % t h r o u g h December &!, before moving on to L.A. Louver in Los Angeles. As is customary for this pro'le, I requested an interview with the artist in his studio, but Kossoff doesn’t often allow strangers into the privacy of his working den. Even his London dealer, David Juda, confesses he’s been there only once in the &( y e a r s h e h a s w o r k e d w i t h t h e a r t i s t . After much fretting, Kossoff agreed to walk me through the exhibition in London. The man who greets me has the fragile appearance of old age. He is quiet—a critic called him “unassuming”—yet his ice-cold blue eyes shine 'ercely below wisps of white hair. There are rules: This isn’t an interview but a conversation. I’m not allowed to record it or to quote the artist directly Leon Kossoff (although many direct quotes are available in books and in his garden in north online).