ARTS CALENDAR LEEDS ARTS CALENDAR MICROFILMED Starting with the First Issue Published in 1947, the Entire Leeds Art Calendar Is Now Available on Micro- Film
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper.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.......................................................................... -
English-Palladianism.Pdf
702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell -
Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
University Microfilms 300 North Zaeb Road Ann Arbor
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Lewis Biggs - Learning to See: an Introduction
LEWIS BIGGS - LEARNING TO SEE: AN INTRODUCTION From ANTONY GORMLEY, exh. cat., Malmö Konsthall, Malmö, Sweden / Tate Gallery, Liverpool, England / Irish Museum of Modern Art, Dublin, Ireland. London: Tate Gallery Publications, 1993 'I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.' Walt Whitman SONG OF MYSELF A biographical approach to Antony Gormley's work would be justified, if for no other reason, by the fact that much of his sculpture is based on his own body [1]. Many of his sculptures are, literally, an embodiment of the artist. As a person, he has an immense capacity for enjoying life physically and intellectually: an ability to keep both his head in the clouds and his feet on the ground. His grandfather was a Catholic from Derry whose family had been dispossessed by the English. Like many Irish, he was staunchly pro-German during the 1914-18 war, but later married an English woman and settled in Walsall. His son, Antony's father, remained highly influenced by his Irish heritage and his strict Catholic upbringing all his life, and when he married a German physiotherapist from a Lutheran family she converted to Catholicism. Both Antony's parents were cultivated and intellectually questioning people, more able to feel at home where they lived among the émigrés of Hampstead than among the English. Antony was brought up a Catholic, attending a Benedictine boarding school, and the universalising impulse of Catholicism, along with its spiritual disciplines, have continued to shape his outlook. -
Conceptual Art in Britain 1964–1979 Timeline Large Print Guide
Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Timeline Large Print Guide Please return to exhibition entrance Contents 1964 Page 1 1965 Page 3 1966 Page 6 1967 Page 9 1968 Page 12 1969 Page 16 1970 Page 23 1971 Page 30 1972 Page 36 1973 Page 41 1974 Page 46 1975 Page 50 1976 Page 54 1977 Page 57 1978 Page 60 1979 Page 63 1964 1 AUG The Centre for Advanced Creative Study publishes Signals Newsbulletin, a forum for the discussion of experimental art exhibitions and events. It also includes poetry and essays on science and technology. The group becomes known as Signals London when it moves to premises in Wigmore Street in central London. The gallery closes in 1966. OCT The Labour party wins the general election under the leadership of Harold Wilson. Wilson speaks about the need ‘to think and speak in the language of our scientific age’. 2 1965 3 FEB Arts minister Jennie Lee publishes the first (and only) white paper on the arts – A Policy for the Arts. She argues that the arts must occupy a central place in British life and be part of everyday life for children and adults. She announces a 30% increase to the Arts Council grant. JUL Comprehensive education system replaces grammar and secondary modern schools, aiming to serve all pupils on an equal basis. Between Poetry and Painting Institute of Contemporary Arts, London 22 October – 27 November Curated by Jasia Reichardt Includes: Barry Flanagan, John Latham 4 NOV Indica gallery and bookshop opens at Mason’s Yard, London. -
White Lodge, Richmond New Park’, the Georgian Group Journal, Vol
Richard Hewlings, ‘White Lodge, Richmond New Park’, The Georgian Group Journal, Vol. XVII, 2009, pp. 41–60 TEXT © THE AUTHORS 2009 WHITE LODGE, RICHMOND NEW PARK RICHARD HEWLINGS hite Lodge takes its name from its limestone and obscures the ground floor (Fig. ). The other Wfacing, supplied, like that of many other public (Fig. ) shows the east front, and is a revelation. buildings in the reign of George I, by Christopher Heckel’s drawings, which are unexpectedly located in Cass and company. But officially it is the New Lodge a collection of views of houses of the Walpole family, in Richmond New Park, and the two ‘news’ are not prompts a re-examination of the origins of the house. complementary. The New Park was created by By all agreed tests White Lodge was a villa. But Charles I on the east side of Richmond village; the its architecture also indicates that it was a specific Old Park, beside the river, spread northwards from type of villa. It stands on ground which falls steeply Richmond Palace on the west side of the village, and to the west. The entrance is on the east side (Fig. ), is today partly absorbed into Kew Gardens. The where it is only two storeys high, but on the west New Park had a lodge for the Ranger, which survived side, whence the view across the Park is obtained, it until ; thus, from the moment of its conception has three storeys (Fig. ). The lowest floor is thus in , White Lodge was the New Lodge, and the buried on the entrance side, but on the west side it other, only ¼ mile to the south of it, was the Old has a vaulted loggia (Fig. -
Download the Art
CONSTANCE DE JONG • Speaking of the River JAY BATTLE • Vanishing Point PUBLIC ART AT 1. 2000 • Audio benches 5. 1999 • Derbyshire stone, steel CANARY WHARF O • CANARY RIVERSIDE Speaking of the River O • CANARY RIVERSIDE Vanishing Point was sponsored by Canary Wharf Group but This map identifies the works of art purchased, commissioned or looks a little like the shell of a mythical sea was part of a wider project commissioned creature that has perhaps been washed loaned by Canary Wharf Group, which include stand-alone pieces by Public Art Development Trust, which up from the Thames. The stone has been and integrated artist architectural works. The works are numbered linked the river Thames in London with the polished to reveal the natural, lined core. sequentially as to their location on the estate from west to east, river Hudson in New York. De Jong created a Having trained as a stone mason in Canada, and the text indicates whether they are sited inside ‘I’ with blue gentle, evocative sound-scape using recorded Battle came to England to study stone numbering, or outside ‘O’ with orange numbering. interviews and stories that relate the human carving and in 1997 became Head Carver experience of both these locations, told by at Salisbury Cathedral, contributing to Artists and key to works on map: people for whom the river is a daily presence. its constant restoration works as well as Bob Allen 1 6 Giusseppe Lund 3 Two audio benches are located 100m apart on running his own studio where he creates Ron Arad 2 Michael Lyons 51 54 the riverside promenade. -
The Fowler Collection of Early Architectural Books from Johns Hopkins University Reel Listing
Works of the Master Architects: The Fowler Collection of Early Architectural Books from Johns Hopkins University Reel Listing Accolti, Pietro (1455-1572). Alberti, Leon Battista (1404-1472). Lo Inganno De Gl'Occhi, Prospettiva Pratica Di [leaf 2 recto] Leonis Baptiste Alberti De Re Pietro Accolti…[2 lines]. Aedificatoria Incipit Lege Feliciter. In Firenze, Appresso Pietro Cecconcelli. 1625 Florentiæ accuratissime impressum opera Magistri Trattato In Acconcio Della Pittvra. [Engraved Nicolai Laurentii Alamani: Anno salutis Millesimo vignette]; Folio. 84 leaves. [i-xii], 1-152 [153-156] p. octuagesimo quinto:quarto Kalendas Ianuarias. 1485 including woodcut diagrams in text. Woodcut head- [Colophon] Lavs Deo Honor Et Gloria. Leonis and tailpieces. 30.3 cm. 11 9/16 in.; Contents: p. [i]: Baptistae Alberti Florentini Viri Clarissimi de re title page; p. [ii]: blank; p. [iii]: dedication to Aedificatoria opus elegãtissi mu et qnãmaxime utile; Cardinal Carlo de Medici; p. [iv]: blank; p. [v-vii]: Folio. 204 leaves. [1-204] leaves. 34 lines to a page. dedicatory verses to Giovambatista Strozzi, 27 cm. 10 5/8 in.; Contents: leaf [1] recto: blank; leaf Alessandro Adimari and Andrea Salvadori; p. [viii- [1] verso: Politian's dedication to Lorenzo de Medici; xii]: table of contents; p. 1-2: preface; p. 3-152: text, leaf [2] recto-leaf [203] verso: Alberti's preface and Part I-III, including woodcut diagrams; p. [153-154]: text of Book I-X, ending with colophon; leaf [204] full-page woodcut illustrations; p. [155]: woodcut recto: Baptista siculus in auctoris psona Ad printer's device above register; p. [156]: blank; Notes: lectorem...; leaf [204] verso: register; Notes: First First edition. -
Special Collections Guide Chelsea College of Art and Design Library
SPECIAL COLLECTIONS GUIDE CHELSEA COLLEGE OF ART AND DESIGN LIBRARY SPECIAL COLLECTIONS GUIDE CHELSEA COLLEGE OF ART AND DESIGN LIBRARY 2nd edition Edited by Gustavo Grandal Montero and Emily Glancy 06 Preface Chelsea College of Art and Design has one of the most important college libraries of visual arts to be found anywhere in Europe. At the heart of this admittedly large claim lie the Special Collections, the subject of this publication, comprising artists’ books and multiples, archives and ephemera, rare books and periodicals. The extraordinary turbulence of contemporary art is in part explained by a modernity which can be characterised as a culture of dissent. The ideas and practices of contemporary art are founded on a continuous and restless testing of all our underlying assumptions and boundaries. In this context Chelsea’s library not only represents these principles of critique and boundary testing but it also embodies them and has done so for decades. None of this should lead us to conclude that the college library neglects the traditional and vital functions of a library. Throughout the academic year it provides an exemplary level of information and scholarship to Chelsea’s academic faculty and students. But as you will see in this publication, it goes much further and could even be said to be asking fundamental questions about what might constitute a 21st century library for the visual arts. This is not mere rhetorical questioning; the probing which I describe occurs in its daily practice, which combines traditional library functions with those of collecting and (most significantly) curating. The volume of requests for access from national and international scholars as well as a con- sistently high level of demand from major national and international museums and galleries wishing to draw on the library collections for exhibitions, is testimony to the quality of the decisions that have been made during its development. -
Corpus Christi Church, New York
VOLUME 94 | APRIL 2020 | MASHECK JOSEPH MASHECK Corpus Christi Church, New York Its Architecture and Art he treasured church of Corpus Christi on Morningside Heights in T Manhattan (“Corpus”), is known for liturgy and music—including com- missioned Mass music and congregational singing in Gregorian chant and English—rather than as a work of architecture or a site for art. Yet in the mid- and later-twentieth century the parish that worshipped in this, its second church built on West 121st Street in Manhattan, was no stranger to contem- porary culture. In 1938, two years after the church opened, Thomas Merton was conditionally baptized here.1 Three years later, the bombing of Pearl Harbor occurred during Advent; the next day, December 8, 1941, the US declared war on Japan; a few days later, children of the parish school, directed by one of their Dominican teaching sisters, found themselves painting a nativity mural with Japanese figures in a Japanese landscape.2 During the war, the French Jewish philoso- pher Simone Weil, who lived on Riverside Drive in 1942, often visited Corpus Christi for Mass, sitting, legend has it, in the back row. Corpus was in the forefront of the liturgical movement: I remember being taken here as a boy in the 1950s to participate in a “Dialogue Mass”—then considered extraordinary. (In the ’60s, Worship was sold in the vestibule.) When Nadia Boulanger, a Catholic and the great composition teacher of many modernist composers, 1 At a font from the first church, where the Servant of God Terence Cardinal Cooke had been baptized in 1921. -
Public Art at Canary Wharf Invitation to Enter’ Rather Than Barriers to Keep Out
01 Constance De Jong 05 Wendy Ramshaw 06 Leo Stevenson 09 Bruce McLean 10 Lynn Chadwick 21 Alexander Beleschenko 22 Ron Arad Public Art Works Speaking of the River Columbus Screen The Hibbert Gate Sculptural Railing Couple on Seat Art Glass Wall The Big Blue 03 Giusseppe Lund 08 Jeff Bell 15 Catherine Yass 16 Kate Blee 20 Bob Allen Outside Entrance Gate & Sculptural Railings Cast Glass Panels HQ3 Moving On It Takes Two Inside, Ground Level 04 Igor Mitoraj 11 Wales & Wales 14 Martin Richman 19 Do Vassilakis-König 23 Antoni Malinowski Centurione I Benches Float Tree Canada Place Floor Inside, Concourse Level 07 James Horrobin & SOM 12 Jon Buck 17 Keith Rand 24 Eilis O’Connell Transport Cabot Square Railings Returning to Embrace Original Form Under and Over II & IV Jubilee Line Station & Docklands Light 02 Richard Wentworth 13 Wales & Wales 18 William Turnbull 25 Terence Woodgate Railway Entrances Globe Benches Blade of Venus Seating Bus StopsP Parking For 24 hour London Travel Information contact (020) 7222 1234 or log on to www.tfl.gov.uk Wren Landing Wren Fisherman’s Walk Adam’s Place Columbus Courtyard The North Colonnade P Canary Wharf P Westferry Cabot Canary Riverside West India Avenue Cabot Square Docklands Churchill Place Circus Place Canada Square Light Rail One Canada Park Square Art Upper Bank Street The South Colonnade Montgomery Street Westferry Road River Pier Nash Court PublicMap Art at Canary Wharf Mackenzie Walk Montgomery Square Jubilee Park Heron Bank Street Quays Docklands Light Rail N 26 Ron Arad 30 Katy Hackney 33