Gerhard Richter
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Safap October2016 Minutes Final
Minutes of the meeting of THE SCOTTISH ARCHAEOLOGICAL FINDS ALLOCATION PANEL 10:45am, Thursday 27th October 2016 Present: Dr Evelyn Silber (Chair), Neil Curtis, Dr Murray Cook (via Skype), Jilly Burns (NMS), Paul MacDonald, Richard Welander (HES), Mary McLeod Rivett In attendance: Stuart Campbell (TTU), Dr Natasha Ferguson (TTU), Andrew Brown (QLTR Solicitor). Dr Natasha Ferguson took the minutes 1. Apologies Apologies from Jacob O’Sullivan (MGS). 2. Chair Remarks The Chair informed the panel that the QLTR had received a response from SG to a letter highlighting issues relating to increasing numbers of disclaimed cases. It was agreed the points would be discussed further at the Annual Review Meeting on 14th November. The panel agreed to form a sub-committee (of NC, JB, RW & AB) to deal with revisions of the Code of Practice in relation to multiple applications. The next date of the panel meeting confirmed as Thursday 23rd March 2017. Further dates in 2017 to be proposed. It is proposed that the number of meetings is reduced to three by combining the Annual Review meeting with a panel meeting. This will be discussed at the next Annual Review meeting on 14th November 2016. 3. Discussion of Galloway Hoard, valuations and timescales JB (NMS) was absent from this discussion. The panel were updated on the current status of the Galloway Hoard, including projected timescales for allocation. The panel also discussed the criteria for assessing the valuations. The 31st January 2017 was agreed as a proposed date to hold an extraordinary SAFAP meeting in relation to allocating the Galloway Hoard. -
EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany
EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany . EDUCATION 1984-85 Apprenticeship as a stonemason 1991-96 MFA, Hochschule für Bildende Künste (HfBK), Dresden, Germany 2010 Professor at the Kunstakademie, Dusseldorf, Germany SOLO EXHIBITIONS 2017 “Havekost Meets Austria” Austrian Cultural Forum, Berlin, Germany “Logik” Galerie Rudolfinum, Prague, Czech Republic 2016 “Inhalt” KINDL, Berlin, Germany [cat.] “Expulsion from Paradise Freeze” Anton Kern Gallery, New York, NY 2015 “Natur” Galerie Gebr. Lehmann, Dresden, Germany 2013 “Retrospektive 1+2” Galerie Gebr. Lehmann, Dresden/Berlin, Germany “Cosmos Now” White Cube, Mason’s Yard, London, UK “Title” Museum Küppersmühle, Duisburg, Germany “La Fin et le lever du jour” Galerie Hussenot, Paris, France 2012 “COPY + OWNERSHIP” Anton Kern Gallery, New York, NY “Endless” Brandenburgischer Kunstverein, Postdam, Germany “Eberhard Havekost-Sightseeing Trip” Bhau Daji Lad Museum, Mumbai, India “Eberhard Havekost” Die Sammlung MAP, Museum der Moderne, Salsburg, Austria Kochi-Muziris Biennale 2012, Kerala Lalitha Kala Akademi Durbar Hall Art Gallery, Ernakulam/Kochi, Kerala “Prints from 2001 to 2012” Kunstverein, Augsburg, Augsburg 2011 “Structure and Absence” White Cube Bermondsey, London, UK “Take Care” Roberts & Tilton, Culver City, CA “Farbenspiel” Galerie Gebr. Lehmann, Berlin, Germany 2010 “Guest” White Cube, Hoxton Square, London, UK “Ausstellung” Staatliche Kunstsammlungen, Dresden, Germany “Affirmation” Ausstellungsraum Celine u. Heiner Bastian, Berlin, Germany “If Not in This Period of Time -
Jerusalem As Trauerarbeit on Two Paintings by Anselm Kiefer and Gerhard Richter
Jerusalem as Trauerarbeit 59 Chapter 3 Jerusalem as Trauerarbeit On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers In 1986, Anselm Kiefer produced a painting he entitled Jerusalem (Fig. 3.1). It is a large and heavy work measuring approximately thirteen by eighteen feet. When viewed up close, the surface is reminiscent of abstract Matter Painting. Liquid lead was applied, left to solidify and then scraped off again in places, ripping the work’s skin. When the work is viewed from a distance, a high hori- zon with a golden glow shining over its centre appears, which, partly due to the title, could be interpreted as a reference to a heavenly Jerusalem. Two metal skis are attached to the surface, which, as Fremdkörper, do not enter into any kind of structural or visual relationship with the painting Eleven years later, Gerhard Richter painted a much smaller work that, although it was also given the title Jerusalem, was of a very different order (Fig. 3.2). The painting shows us a view of a sun-lit city. But again Jerusalem is hardly recognizable because Richter has let the city dissolve in a hazy atmo- sphere, which is, in effect, the result of a painting technique using a fine, dry brush in paint that has not yet completely dried. It is the title that identifies the city. Insiders might be able to recognize the western wall of the old city in the lit-up strip just below the horizon, but otherwise all of the buildings have dis- appeared in the haze. -
Richard Long Lives and Works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College
Richard Long Lives and works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College of Art, Bristol, UK 1945 Born in Bristol, UK Selected Solo Exhibitions 2020 ‘FROM A ROLLING STONE TO NOW’, Lisson Gallery, New York, USA ‘MUDDY HEAVEN’, Sperone Westwater Gallery, New York, USA ‘FROM URIQUE TO ORIZABA RIVER DEEP MOUNTAIN HIGH’ Cuadra San Cristóbal, Mexico City, Mexico 2019 ‘Fate and Luck’, Galleria Lorcan O’Nell, Rome, Italy Lisson Gallery, Shanghai, China Galleria Tucci Russo Chambres d’Art, Turin, Italy Konrad Fischer Galerie, Berlin, Germany De Pont Museum, Tilburg, Netherlands 2018 ‘The Tide is High’, Alan Cristea Gallery, London, UK ‘Along The Way: Richard Long’, Fondation CAB, Brussels, Belgium Skulpturenhalle, Thomas Schutte Foundation, Neuss, Germany ‘ARTIST ROOMS: Richard Long’, Gallery Oldham, Oldham, UK ‘Circle to Circle’, Lisson Gallery, London, UK 2017 ‘ARTIST ROOMS: Richard Long: Drawn from the Land’, Derby Museum and Art Gallery, Derbyshire, UK ‘EARTH SKY’, Houghton Hall, Norfolk, UK ‘The Isle of Wight as Six Walks’, Quay Arts, Isle of Wight, UK 2016 ‘COLD STONES’, CAC Malaga, Malaga, Spain ‘Avon Tiber’, Galleria Lorcan O’Neill, Rome, Italy 2015 ‘Time and Space’, Arnolfini, Bristol, UK ‘The Spike Island Tapes’, Alan Cristea Gallery, London, UK ‘Larksong Line’, Galerie Tschudi, Zuoz, Switzerland 2014 ‘Prints 1970–2013’, The New Art Gallery, Walsall, UK Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Lisson Gallery, London, UK 2013 ‘Artist Rooms: Richard Long’, Potties Museum -
Kilmarnock Cultural Quarter a Vision
KILMARNOCK CULTURAL QUARTER A VISION Keppie Design September 2017 KILMARNOCK CULTURAL QUARTER A VISION Keppie Design August 2017 Copyright: Keppie Design Limited All work appearing in this document is the property of Keppie Design Limited and protected under international copyright laws. No work is to be copied, stored, manipulated, projected or used without the permission of Keppie Design Limited. Photography Credits: Photographs contained within this document are reproduced here under licence and/or credited where applicable. Contents 1 \ Introduction - Background 7 Core Theme 6 : Extension of Green ‘Spine’ 42 - Purpose of The Cultural Quarter Vision Report 7 - Reinforce Green Routes - The Cultural Quarter and the Town 8 - Key Nodal Points - Site Context and Historical Analysis 9 - Sketch Illustration Core Theme 7 : Extension of Green ‘Spine’ 44 2 \ Cultural Quarter Plan Development - Pedestrian Connections - The Palace Theatre Public Realm - Visioning Feedback and Central Aims 14 - Palace Theatre Landscape Site Plan - Key Vision Themes 19 Core Theme 8 : Redefining the Street Edge 48 - Car Parking 3 \ Cultural Quarter Vision Themes & Recommendations - Sketch Site Plan Core Theme 1 : The Dick Institute Redevelopment 22 - Dick Institute Programme 4\ Indicative Cost - Sculpture Park - Sketch Illustration - Cost Report 52 Core Theme 2 : Loanhead Primary School Arts Programme 26 - Loanhead Primary School 5 \ Summary and Suggested Time Line - Arts & Crafts Programme - Sketch Section Diagram - The Vision 60 (Short Term/ Mid Term / Long Term) -
Manon De Boer One, Two, Many
Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 88, augustus 2013 Erkenningsnummer P309573 141 –143 Jaargang 17 No. 88 Hhe Stuff That Matters’ public for the first time. It also of the time after he left the (2012) presented a selection provided an insight into what art world. The exhibition of Seth’s collection to the Seth had been up to for some was, I think, a • Manon de Boer’s filmone, two, many is composed of three parts. In the last part four singers (Marianne Pousseur, Lucy Grauman, Vincent Bouchot, Paul Alexandre Dubois) perform a song from the Tre Canti Popolari by Giacinto Scelsi. This most recent work by De Boer was produced for Documenta 13 and explores in each part the existential space of the voice. (film still) (advertisement) The culmination of th’s activities in thorship has also been recognized; see for the art world would be the artist’s contract instance, the Visual Artists Rights Act 1990 (1971), intended to be a ‘self-help docu- (US). The contract, however, was also deep- ment’ for artists. The contract came out of ly impractical. Founded on the premise that research into the inequalities of the art sys- the collector of the artwork when selling it tem and the question of how artists could would have to find another collector to ratify 141 better protect their rights. Before drafting the same agreement was never going to be Opening Exhibition it, Seth interviewed hundreds of artists an attractive proposition. -
Organizations
Long Distance Friends Is Fundraising in the United States the Right Move? - A Five-Point Checklist By Gisela Keller Translation of a German article that appeared in Stiftung und Sponsoring in October 2006 The candles on the elegant Park Avenue dinner table cast a soft glow on the influential guests engaged in conversation as Ortrud Westheider, the Art Director of the Hamburg-based Bucerius Kunst Forum, hosts a recent “Friendraising Dinner” in New York. She seeks to raise visibility and financial support from individuals, collectors, foundations and companies for her American Art from 1800 – 1950 project. Three years ago when the Museum embarked on finding U.S. donors for their exhibition trilogy that will open in Hamburg, Vienna und Zurich starting in 2008 the term “Friendraising Dinner” was pretty novel. That’s different today. In light of diminishing state support overseas for arts, culture, science and education the strong U.S. culture of philanthropy increasingly attracts international nonprofit leaders’ attention. “When talking with German clients I notice that interest in international fundraising is rising. Yet, nonprofit management tends to be oblivious to the fact that it is relatively simple to create the technical and legal framework that will allow them to qualify for US donations - and to attain tax exemption for U.S. donations,” comments Steffen Lang, Relationship Manager at Deutsche Bank Private Wealth Management in New York. Tax exemption is a prerequisite for fundraising in the United States. International organizations have a couple of options: It can be advisable to set up a Donor-Advised Fund via an organization such as the King Baudouin Foundation United States or Charities Aid. -
Anselm Kiefer Bibliography
G A G O S I A N Anselm Kiefer Bibliography Selected Books and Catalogues: 2020 Dermutz, Klaus. Anselm Kiefer: Superstrings, Runes, The Norns, Gordian Knot. London: White Cube. 2019 Adriani, Götz. Baselitz, Richter, Polke, Kiefer: The Early Years of the Old Masters. Dresden: Michel Sandstein. Cohn, Daniele. Anselm Kiefer: Studios. Paris: Flammarion. Trepesch, Christof. Anselm Kiefer aus der Sammlung Walter (Augsburg, Germany: Kunstmuseum Walter. Dermutz, Klaus. Anselm Kiefer in Conversation with Klaus Dermutz. London: Seagull Books. Granero, Natalia, Götz Adriani, Jean-Max Colard, Anselm Kiefer, Gunnar B. Kvaran and Rainer Michael Mason. Anselm Kiefer - Livres et xylographies. Montricher: Fondation Jan Michalski pour l’écriture et la littérature, Oslo: Astrup Fearnley Museet. Chauveau, Marc and Anselm Kiefer. Anselm Kiefer à La Tourette. Paris: Bernard Chauveau Édition; New York: Gagosian, English edition, 2020. Baume, Nicholas, Richard Calvocoressi and Anselm Kiefer. Uraeus. New York: Gagosian. 2018 Amadasi, Giovanna, Matthew Biro, Massimo Cacciari, Gabriele Guercio. Anselm Kiefer: The Seven Heavenly Palaces. Milano: Pirelli HangarBiccoca and Mousse Publishing. Bastian, Heiner. Anselm Kiefer: Bilder / Paintings. Munich: Schirmer/Mosel. Kiefer, Anselm. Anselm Kiefer: Für Andrea Emo. Pantin/Paris: Galerie Thaddaeus Ropac. 2017 Chevillot, Chaterine, Sophie Blass-Fabiani, Véronique Mattiussi, Sylvie Patry, and Hélène Marraud. Kiefer-Rodin. Paris: Editions Gallimard. Knausgaard, Karl Ove, James Lawrence and Louisa Buck. Anselm Kiefer: Transition from Cool to Warm. New York: Rizzoli & Gagosian. Czeczot, Ivan, Klaus Dermutz, Dimitri Ozerkov, Mikhail Piotrovsky, Peter Sloterdijk. Anselm Kiefer: For Velimir Khlebnikov, Fates of Nations. St. Petersburg: The State Hermitage Museum. Stonard, Jean-Paul. Anselm Kiefer: Walhalla. London: White Cube. Clearwater, Bonnie, Norman Rosenthal and Joseph Thompson. -
With Jan Hoet
The history of exhibitions: beyond the white cube ideology (second part) Course on Contemporary Art and Culture MACBA, Autumn 2010 “““Chambres“Chambres d’amisd’amis”””” (1986) Jan Hoet November 15 ththth 2010, 19 h MACBA Auditorium “““Chambres“Chambres d’amisd’amis”””” Museum van Hedendaagse Kunst, Ghent, but hosted in 58 pprivaterivate houses in Ghent 21th June ––– 21th September, 1986 Curator: Jan Hoet Artists: Carla Accardi, Christian Boltanski, Raf Buedts, Daniel Buren, Michael Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol Lewitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip Van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio. A few statements on “Chambres d’amis” 1.1.1. “Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. -
Janet Cardiff & George Bures Miller
JANET CARDIFF & G. B. MILLER page 61 JANET CARDIFF & GEORGE BURES MILLER Live & work in Grindrod, Canada Janet Cardiff Born in 1957, Brussels, Canada George Bures Miller Born in 1960, Vegreville, Canada AWARDS 2021 Honorary degrees, NSCAD (Nova ScoOa College of Art & Design) University, Halifax, Canada 2011 Käthe Kollwitz Prize, Akademie der Künste, Berlin, Germany 2004 Kunstpreis der Stadt Jena 2003 Gershon Iskowitz Prize 2001 Benesse Prize, 49th Venice Biennale, Venice, Italy Biennale di Venezia Special Award, 49th Venice Biennale, Venice, Italy 2000 DAAD Grant & Residency, Berlin, Germany SELECTED INDIVIDUAL EXHIBITIONS 2019 Janet Cardiff & George Bures Miller, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico 2018-2019 Janet Cardiff & Geroge Bures Miller: The Instrument of Troubled Dreams, Oude Kerk, Amsterdam, The Netherlands 2018 Janet Cardiff & George Bures Miller: The Poetry Machine and other works, Fraenkel Gallery, FRAENKELGALLERY.COM [email protected] JANET CARDIFF & G. B. MILLER page 62 San Francisco, CA FOREST… for a thousand years, UC Santa Cruz Arboretum and Botanic Garden, Santa Cruz, CA Janet Cardiff & George Bures Miller: Two Works, SCAD Art Museum, Savannah, GA 2017-18 Janet Cardiff & George Bures Miller, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2017 Janet Cardiff: The Forty Part Motet, Switch House at Tate Modern, London, England; Nelson Atkins Museum of Art, Kansas City, MO; Mobile Museum of Art, Mobile, AL; Auckland Castle, Durham, England; TRAFO Center for Contemporary Art, Szczecin, Poland -
Residenzschloss
Zum Buchungsformular Residenzschloss Die Highlights der Museen im Residenzschloss Neues Grünes Gewölbe, Rüstkammer Dauer Das Dresdner Residenzschloss zählt zu den prächtigsten und 120 Minuten bedeutendsten Schlossbauten der Renaissance in Deutschland. Seit Gruppenstärke 1485 war Dresden ständige Residenz sächsischer Fürsten, max. 25 Teilnehmer Kurfürsten und Könige. Heute beherbergt es hochrangige Museen, Gebühr die zu den bedeutendsten Kunstmuseen weltweit zählen. Die 120 € pro Gruppe zzgl. Eintritt Führung stellt die Highlights dieser Ausstellungen, unter anderem aus dem Neuen Grünen Gewölbe, der Rüstkammer und dem Renaissanceflügel, vor. Zur Buchung Juwelentour – Grünes Gewölbe Total! Neues Grünes Gewölbe, Historisches Grünes Gewölbe Dauer Nach einer kurzweiligen Führung im Neuen Grünen Gewölbe 60 Minuten (Führung) begeben Sie sich in die berühmte und wohl schönste Schatzkammer Gruppenstärke Europas – das Historische Grüne Gewölbe. Hier entdecken Sie max. 25 Teilnehmer während einer individuellen Audioguide-Tour, die originalgetreu Gebühr gestalteten barocken Prunkräume des Residenzschlosses und 60 € pro Gruppe zzgl. Eintritt genießen ein einzigartiges Ensemble aus Gold und Edelsteinen. Zur Buchung Die Königlichen Gemächer Augusts des Starken Paraderäume Dauer Die Führung zeigt die Paraderäume Augusts des Starken im 60 Minuten Residenzschloss. In den vier Sälen, bestehend aus Erstem Gruppenstärke Vorzimmer, Zweitem Vorzimmer, Audienzgemach und max. 25 Teilnehmer Paradeschlafzimmer, präsentierte der Kurfürst seine polnisch- Gebühr sächsische, könig-kurfürstliche Herrschaft der Außenwelt. Der 60 € pro Gruppe zzgl. Eintritt Besuch des kleinen Ballsaals mit seinen reichhaltigen Verzierungen aus Blattgold, Marmor und Stuck rundet die Führung ab. Zur Buchung Zum Buchungsformular Zwinger Der Zwinger - Barocke Pracht Gemäldegalerie Alte Meister, Porzellansammlung, Mathematisch Physikalischer Salon Dauer Der weltbekannte Dresdner Zwinger gehört zu den großartigsten 120 Minuten Bauwerken des Barocks in Deutschland. -
Rodney Graham CV
Rodney Graham Lives and works in Vancouver, Canada 1979–80 Simon Fraser University, Burnaby, Canada 1968–71 University of British Columbia, Vancouver, Canada 1949 Born in Vancouver, Canada Selected Solo Exhibitions 2020 ‘Artists and Models', Serlachius Museum Gösta, Mänttä, Finland ‘Painting Problems’, Lisson Gallery 2019 303 Gallery, New York, NY, USA 2018 ‘Central Questions of Philosophy’, Lisson Gallery, London, UK 2017 ‘Lightboxes’, Museum Frieder Burda, Baden-Baden, Germany 303 Gallery, New York, NY, USA ‘That’s Not Me’, BALTIC Centre for Contemporary Art, Gateshead, UK; Museum Voorlinden, Wassenaar, Netherlands; Irish Museum of Modern Art, Dublin, Ireland ‘Canadian Impressionist’, Canada House, London, UK ‘Media Studies’, Hauser & Wirth, Zurich, Switzerland 2016 ‘You should be an Artist’, Le Consortium, Dijon, France ‘Waterloo Billboard Commissions’, Hayward Gallery, London, UK ‘Jack of All Trades’, Prefix Institute of Contemporary Art, Toronto, Canada ‘Più Arte dello Scovolino!’, Lisson Gallery, Milan, Italy Alt Art Space, Istanbul Turkey 2015 Sammlung Goetz, Munich, Germany ‘Kitchen Magic Drawings’, Galerie Rüdinger Schöttle, Munich, Germany 2014 ‘Rodney Graham: Props and Other Paintings’, Charles H. Scott Gallery, Emily Carr University of Art + Design, Vancouver, Canada ‘Collected Works’, Rennie Collection, Vancouver, Canada ‘Torqued Chandelier Release and Other Works’, Belkin Gallery, University of British Columbia, Vancouver, Canada 2013 Lisson Gallery, London, UK 303 Gallery, New York, NY, USA ‘The Four Seasons’, Hauser & Wirth, Zurich, Switzerland 2012 ‘Canadian Humourist’, Vancouver Art Gallery, Vancouver, Canada Johnen Galerie, Berlin, Germany 2011 Donald Young Gallery, Chicago, IL, USA ‘Vignettes of Life’, Hauser & Wirth, Zurich, Switzerland ‘Rollenbilder – Rollenspiele’, Museum der Moderne, Salzburg, Austria ‘The Voyage or Three Years at Sea: Part 1.