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Mildura Arts Centre Collections Policy Policy
Mildura Arts Centre Collections Policy Policy – CP069 Prepared Reviewed Approved Date Council Minute No. July 2020 Arts & Culture Council February 2021 2021/0029 Development Manager Trim File: 18/02/01 To be reviewed: February 2026 Document Owner: Review Frequency: 5 Yearly Manager Community Futures 1. The purpose of this policy is: To provide guidelines for the considered collection of items for the Mildura Arts Centre Permanent Collection (the ‘Collection’) by purchase, gift/bequest, transfer or commission. Founded upon the bequest of R.D. and Hilda Elliott the Collection is a significant and valuable asset which is often referred to ‘as one of Victoria’s best kept secrets’. There are significant opportunities for our community and region through development and promotion of the Collection. Mildura Arts Centre is a leading regional arts, culture and heritage precinct which includes a public gallery, performing arts theatre, sculpture park, and Mildura’s most important heritage building, Rio Vista Historic House. This policy provides avenues for the Collection to be embraced on a local, national and international level, to preserve it and invest in cultural heritage. This policy provides guidance regarding acquisitions to the Collection which will enhance the cultural vitality and viability of our community. The Collection’s Areas of Significance are: Period: 1890s to 1930 approx. Work by Frank Brangwyn or William Orpen 1 British Art Work by artists associated with Brangwyn and Orpen Work associated with existing collection works 2 Historical Period: pre-1950s Australian Art Work depicting the Murray-Darling Region (the ‘Region’) Period: 1960 to early 1980s approx. Work by artists associated with the events collectively known as the Sculpture Triennials. -
Anya Gallaccio
ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition, -
Art, Real Places, Better Than Real Places 1 Mark Pimlott
Art, real places, better than real places 1 Mark Pimlott 02 05 2013 Bluecoat Liverpool I/ Many years ago, toward the end of the 1980s, the architect Tony Fretton and I went on lots of walks, looking at ordinary buildings and interiors in London. When I say ordinary, they had appearances that could be described as fusing expediency, minimal composition and unconscious newness. The ‘unconscious’ modern architecture of the 1960s in the city were particularly interesting, as were places that were similarly, ‘unconsciously’ beautiful. We were the ones that were conscious of their raw, expressive beauty, and the basis of this beauty lay in the work of minimal and conceptual artists of that precious period between 1965 and 1975, particularly American artists, such as Sol LeWitt, Robert Morris, Dan Flavin and Dan Graham. It was Tony who introduced (or re-introduced) me to these artists: I had a strong memory of Minimal Art from visits to the National Gallery in Ottawa, and works of Donald Judd, Claes Oldenburg and Richard Artschwager as a child. There was an aspect of directness, physicality, artistry and individualized or collective consciousness about this work that made it very exciting to us. This is the kind of architecture we wanted to make; and in my case, this is how I wanted to see, make pictures and make environments. To these ends, we made trips to see a lot of art, and art spaces, and the contemporary art spaces in Germany and Switzerland in particular held a special significance for us. I have to say that very few architects in Britain were doing this at the time, or looking at things the way we looked at them. -
Anya Gallaccio
Anya Gallaccio 1963 Born in Paisley, Scotland Lives and works in London, UK Education 1985-1988 Goldsmiths’ College, University of London, UK 1984-1985 Kingston Polytechnic, London, UK Residencies and awards 2004 Headlands Center for the Arts, Sansalitos, California, US 2003 Nominee for the Turner Prize, Tate Britain, London, UK 2002 1871 Fellowship, Rothermere American Institute, Oxford, UK San Francisco Art Institute, California, US 1999 Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK 1999 Kanazawa College of Art, JP 1998 Sargeant Fellowship, The British School at Rome, IT 1997 Jan-March Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio Texas, US Solo Exhibitions 2015 Lehmann Maupin, New York, US 2014 Stroke, Jupiter Artland, Edinburgh, UK SNAP, Art at the Aldeburgh Festival, Suffolk, UK Blum&Poe, Los Angeles, US 2013 This much is true, Artpace, San Antonio, Texas, US Creation/destruction, The Holden Gallery, Manchester, UK 2012 Red on Green, Jupiter Artland, Edinburgh, UK 2011 Highway, Annet Gelink Gallery, Amsterdam, NL Where is Where it’s at, Thomas Dane Gallery, London, UK 2010 Unknown Exhibition, The Eastshire Museums in Scotland including the Dick Institiute, the Baird Institute and the Doon Valley Museum, Kilmarnock, UK 2009 Inaugural Exhibition, Blum & Poe Gallery, Los Angeles, CA, US Lehmann Maupin Gallery, New York, US 2008 Comfort and Conversation, Annet Gelink Gallery, Amsterdam, NL That Open Space Within, Camden Arts Center, London, UK Kinsale -
Shock Value: the COLLECTOR AS PROVOCATEUR?
Shock Value: THE COLLECTOR AS PROVOCATEUR? BY REENA JANA SHOCK VALUE: enough to prompt San Francisco Chronicle art critic Kenneth Baker to state, “I THE COLLECTOR AS PROVOCATEUR? don’t know another private collection as heavy on ‘shock art’ as Logan’s is.” When asked why his tastes veer toward the blatantly gory or overtly sexual, Logan doesn’t attempt to deny that he’s interested in shock art. But he does use predictably general terms to “defend” his collection, as if aware that such a collecting strategy may need a defense. “I have always sought out art that faces contemporary issues,” he says. “The nature of contemporary art is that it isn’t necessarily pretty.” In other words, collecting habits like Logan’s reflect the old idea of le bourgeoisie needing a little épatement. Logan likes to draw a line between his tastes and what he believes are those of the status quo. “The majority of people in general like to see pretty things when they think of what art should be. But I believe there is a better dialogue when work is unpretty,” he says. “To my mind, art doesn’t fulfill its function unless there’s ent Logan is burly, clean-cut a dialogue started.” 82 and grey-haired—the farthestK thing you could imagine from a gold-chain- Indeed, if shock art can be defined, it’s art that produces a visceral, 83 wearing sleazeball or a death-obsessed goth. In fact, the 57-year-old usually often unpleasant, reaction, a reaction that prompts people to talk, even if at sports a preppy coat and tie. -
The City of St. John's
Th e City of St. John’s Arts Space: Demand and Needs Analysis Phase 1A & 1B Report City Arts Study - Report_15March2013.indd i 3/22/2013 1:58:30 PM Prepared by Sheppard Case Architects & Schick Shiner Associates For Th e City of St. John’s November, 2012 City Arts Study - Report_15March2013.indd ii 3/22/2013 1:58:40 PM Table of Contents: 1.0 Executive Summary and Conclusions 1. Executive Summary and Conclusions .......................................................................................................................................2 PHASE - 1A DEMANDS & NEEDS ANALYSIS 2.0 Introduction 1. Executive Summary and Conclusions .......................................................................................................................................2 2. Project Goal ...........................................................................................................................................................................14 3. Methodologies ........................................................................................................................................................................14 4. Business Plan .........................................................................................................................................................................15 5. Precursory Reports .................................................................................................................................................................16 6. Th e Forum ..............................................................................................................................................................................17 -
Sarah Lucas: SITUATION Absolute Beach Manrubble
Teachers’ Notes Whitechapel Gallery Autumn 2013 Sarah Lucas: SITUATION Absolute Beach Man Rubble. Also including Annette Krauss: Hidden Curriculum/In Search of the Missing Lessons; Contemporary Art Society: Nothing Beautiful Unless Useful; and Supporting Artists: Acmes First Decade 1972 -1982. whitechapelgallery.org , 1996, c-print, 152.5 x 122 cm, copyright the artist, courtesy Sadie Coles HQ, London. HQ, Sadie Coles courtesy the artist, copyright 152.5 x 122 cm, c-print, 1996, , Self-Portrait with Skull Self-Portrait Sarah Lucas Sarah Introduction: Teachers’ Notes This resource has been put together by the Whitechapel Gallery’s Education Department to introduce teachers to each season of exhibitions and new commissions at the Gallery. It explores key themes within the main exhibition to support self-directed visits. We encourage schools to visit the gallery Tuesday – Thursday during term time, and to make use of our Education Studios for free. Autumn 2013 at the Whitechapel Gallery Sarah Lucas: SITUATION Absolute Beach Man Rubble Throughout the lower and upper floors of the Gallery are two decades of works by British artist, Sarah Lucas. The bawdy euphemisms, repressed truths, erotic delights and sculptural possibilities of the sexual body lie at the heart of Sarah Lucas’s work. First coming to prominence in the 1990s, this British artist’s sculpture, photography and installation have established her as one of the most important figures of her generation. This exhibition takes us from Lucas’s 1990s’ foray into the salacious perversities of British tabloid journalism to the London premiere of her sinuous, light reflecting bronzes: limbs, breasts and phalli intertwine to transform the abject into a dazzling celebration of polymorphous sexuality. -
The Ba Back Door Fe
FIRST COMPREHENSIVE U.S. SURVEY OF MARTIN CREED’S MULTIDISCIPLINARY PRACTICE ANIMATES ARMORY IN AN UNPRECEDENTED DISPLAY THIS JUNE The Back Door Features Artistic Interventions and Performances throughout Armory’s Drill Hall and Historic Interiors, Including Debut of Major New Commission and First Complete Presentation of Creed’s Video Works New York, NY—May 20, 2016—Turner Prize-winning artist Martin Creed takes over Park Avenue Armory’s entire first floor—from itss expansive Wade Thompson Drill Hall and adjacent bunkers, to its historic period rooms and corridors—wwith the largest U.S. survey of his work annd the most extensive single-artist installation at the Armory to date. On view June 8 through August 7, 2016, The Back Door features a seriies of sculptural interventions, installations, and performances, including the first complete showing of Creed’s films and video works and a major new commission for the Armory’s drill hall. Internationaally recognized for his use of minimalist strategies, Creed employs singular gestures to poowerful Martin Creed, Work No. 8000 , 2007. Emulsion on wall, Stripes effect in works that are seemingly simple and precise. 9 in / 23 cm wide; overall dimensions variable. © Martin Creed Opening and closing curtains and doors—including the back door of the Armory’s drill hall, from which the exhibition takes its title—a slamming piano, lights going on and off, and a room filled halfway with balloons create a playful spectacle that transforms the Armory into a multi-dimensional space with a life of its own. “Martin’s sweeping vision for this undertaking reflects our mission to provide a platform for artists to push the boundaries of their practice into unprecedented realms,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory. -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
Strategic Plan 2021 2026
STRATEGIC PLAN 2021 2026 Letter from the Chief Executive Officer and We want to see more communities across our country recognizing and celebrating the contributions made by artists with disabilities, not just in Board Liaison, Strategic Planning the visual arts but across disciplines. To do that, we need to be a leader nationally, setting out high standards in program design and delivery, and giving our artists the right space and stage to properly showcase their At the time of writing, the world is still grappling with the COVID-19 talent and inspire others to follow. pandemic, and anxiety is dominating so many of our lives. Ultimately, what we are talking about is making Calgary and Alberta the What has remained unchanged, however, is Indefinite Arts Centre’s epicentre of our country’s disability arts movement. And we have all resiliency and adaptability in ensuring that we provide the platforms the ingredients to make this happen. and supports necessary to our growing community of artists living with disabilities. Through a combination of both virtual and mail-in We have an amazing team of staff and volunteers. By welcoming our programs, we continue to engage with more than 95% of our artist sister organizations Artistic Expressions and Momo Movement into community. More importantly, we are giving our artists the tools and our fold, we are now equipped with the infrastructure to expand our supports needed to continue their journey – as artists. program disciplines. Most importantly, we have public and private sector partners – and a growing community of donors – who believe in Though COVID-19 has made many things unclear, one unmistakable the work that we do and invest in our artists and our organization. -
Stantec, Inc. (STN) Investor Day
Corrected Transcript 12-Jun-2019 Stantec, Inc. (STN) Investor Day Total Pages: 62 1-877-FACTSET www.callstreet.com Copyright © 2001-2019 FactSet CallStreet, LLC Stantec, Inc. (STN) Corrected Transcript Investor Day 12-Jun-2019 CORPORATE PARTICIPANTS Alison Tucker Kirk Morrison Vice President-Sector Marketing & Client Development, Stantec, Inc. Executive Vice President, Energy & Resources, Stantec, Inc. Scott Argent Leonard Castro Vice President, Regional Leader, Canada (Edmonton Capital), Stantec, Executive Vice President, Buildings, Stantec, Inc. Inc. Stuart Lerner Gordon Allan Johnston Executive Vice President, Infrastructure, Stantec, Inc. President, Chief Executive Officer & Director, Stantec, Inc. Marshall Davert Theresa B. Y. Jang Executive Vice President-Water, Stantec, Inc. Chief Financial Officer & Executive Vice President, Stantec, Inc. Catherine Margaret Schefer Robert H. Seager Executive Vice President & Regional Operating Unit Leader, Stantec, Executive Vice President, Environmental Services, Stantec, Inc. Inc. ...................................................................................................................................................................................................................................................... OTHER PARTICIPANTS Chris Murray Mark Neville Analyst, AltaCorp Capital, Inc. Analyst, Scotiabank Michael Tupholme Derek Spronck Analyst, TD Securities, Inc. Analyst, RBC Capital Markets Derrick Richard Gut Benoit Poirier Analyst, Jarislowsky, Fraser Ltd. Analyst, Desjardins -
Group Exhibition
GALERIE THADDAEUS ROPAC GROUP EXHIBITION SEX AND THE BRITISH SALZBURG VILLA KAST 15 Apr 2000 - 03 Jun 2000 SLAP AND TICKLE A perspective on the sexual content of British Art since the 1960s An exhibition under the curatorship of Norman Rosenthal and Max Wigram Great art has often been inspired and driven by Eros. When we talk about eroticism and sex in art, we touch the most original source of artistic inspiration. Important intemationally renowned British artists such as Francis Bacon, Lucian Freud or David Hockney have repeatedly used sex as a leitmotif for their works, indeed their work has even depended on it. Far from being uptight about sex, these artists have explored areas of sexual practice with a graphic opemiess that never shies away from controversy. Besides significant works by Gilbert + George this exhibition brings together the most sensual exhibits of a younger generation of artists, showing fascinating representations of erotic and sexual motifs in art. The explosive development of British art since 1990 owes much to the Vanguard, which paved the way in the 1960s and l970s. Sex has become even more of a major theme in the work of the so-called YBA's (Young British Artists). Sex is nothing to shy away from nor is its fantasy to be disputed because of its frank inclusion in much of contemporary British work. Using the contemporary energy of shock and more traditional ideas of beauty this exhibition contains some extremely explicit and provocative works. It confronts issues of pomography, homosexuality and amorality with a directness that will subsequently make the British and sex appear in a new light.