Barbara Hepworth Barbara Hepworth Biography
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Fronts in the World Ocean's Large Marine Ecosystems. ICES CM 2007
- 1 - This paper can be freely cited without prior reference to the authors International Council ICES CM 2007/D:21 for the Exploration Theme Session D: Comparative Marine Ecosystem of the Sea (ICES) Structure and Function: Descriptors and Characteristics Fronts in the World Ocean’s Large Marine Ecosystems Igor M. Belkin and Peter C. Cornillon Abstract. Oceanic fronts shape marine ecosystems; therefore front mapping and characterization is one of the most important aspects of physical oceanography. Here we report on the first effort to map and describe all major fronts in the World Ocean’s Large Marine Ecosystems (LMEs). Apart from a geographical review, these fronts are classified according to their origin and physical mechanisms that maintain them. This first-ever zero-order pattern of the LME fronts is based on a unique global frontal data base assembled at the University of Rhode Island. Thermal fronts were automatically derived from 12 years (1985-1996) of twice-daily satellite 9-km resolution global AVHRR SST fields with the Cayula-Cornillon front detection algorithm. These frontal maps serve as guidance in using hydrographic data to explore subsurface thermohaline fronts, whose surface thermal signatures have been mapped from space. Our most recent study of chlorophyll fronts in the Northwest Atlantic from high-resolution 1-km data (Belkin and O’Reilly, 2007) revealed a close spatial association between chlorophyll fronts and SST fronts, suggesting causative links between these two types of fronts. Keywords: Fronts; Large Marine Ecosystems; World Ocean; sea surface temperature. Igor M. Belkin: Graduate School of Oceanography, University of Rhode Island, 215 South Ferry Road, Narragansett, Rhode Island 02882, USA [tel.: +1 401 874 6533, fax: +1 874 6728, email: [email protected]]. -
Roy Staab Four Seasons / Four Corners
ROY STAAB FOUR SEASONS / CORNERS ROY STAAB FOUR SEASONS / CORNERS Institute of Visual Arts University of Wisconsin-Milwaukee July 10-September 27, 2009 with contributions by Suzaan Boettger Nicholas Frank John K. Grande Amy Lipton Institute of Visual Arts University of Wisconsin-Milwaukee July 10-September 27, 2009 Inova is grateful for the support of the Greater Milwaukee Foundation’s Mary L. Nohl Fund. Published by the University of Wisconsin-Milwaukee Peck School of the Arts on the occasion of the exhibition ROY STAAB: FOUR SEASONS/FOUR CORNERS Organized by the Institute of Visual Arts (Inova) P.O. Box 413 Milwaukee, WI 53201 Phone: (414) 229-4762 Fax: (414) 229-6154 arts.uwm.edu © 2009 by the Board of Regents of the University of Wisconsin System. All rights reserved. No part of the contents of this book may be produced without the written permission of the publisher. ISBN: 9780981930114 Printed in the United States of America All photographs of installations by Roy Staab except: Michel Goday, figs. 2, 9 Gregg Schmidts, fig. 17 Leonard Freed, fig. 23 Nicholas Frank, fig. 33 Alan Magayne-Roshak, fig. 34 Additional credits: cover: Pyramid Space 7 - August 24, 1988 fig. 16: Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY fig. 18: Collection of the Gemeente Museum Den Haag. 1 (opposite) Fluke, 2008, Marbaek Beach near Esbjerg, Denmark 2 Port-Vendres, France, 1979 5 X MARKS THE STAAB Anyone who knows Roy Staab has experienced the discrepancy between 3 Dennis Oppenheim his personality and his artwork. His temporary environmental site installations Cancelled Crop, 1969 are the embodiment of calm, humility and silence. -
Sculpting Lives S1E1, Barbara Hepworth
Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens. -
Copyrighted Material
176 Exchange (Penzance), Rail Ale Trail, 114 43, 49 Seven Stones pub (St Index Falmouth Art Gallery, Martin’s), 168 Index 101–102 Skinner’s Brewery A Foundry Gallery (Truro), 138 Abbey Gardens (Tresco), 167 (St Ives), 48 Barton Farm Museum Accommodations, 7, 167 Gallery Tresco (New (Lostwithiel), 149 in Bodmin, 95 Gimsby), 167 Beaches, 66–71, 159, 160, on Bryher, 168 Goldfish (Penzance), 49 164, 166, 167 in Bude, 98–99 Great Atlantic Gallery Beacon Farm, 81 in Falmouth, 102, 103 (St Just), 45 Beady Pool (St Agnes), 168 in Fowey, 106, 107 Hayle Gallery, 48 Bedruthan Steps, 15, 122 helpful websites, 25 Leach Pottery, 47, 49 Betjeman, Sir John, 77, 109, in Launceston, 110–111 Little Picture Gallery 118, 147 in Looe, 115 (Mousehole), 43 Bicycling, 74–75 in Lostwithiel, 119 Market House Gallery Camel Trail, 3, 15, 74, in Newquay, 122–123 (Marazion), 48 84–85, 93, 94, 126 in Padstow, 126 Newlyn Art Gallery, Cardinham Woods in Penzance, 130–131 43, 49 (Bodmin), 94 in St Ives, 135–136 Out of the Blue (Maraz- Clay Trails, 75 self-catering, 25 ion), 48 Coast-to-Coast Trail, in Truro, 139–140 Over the Moon Gallery 86–87, 138 Active-8 (Liskeard), 90 (St Just), 45 Cornish Way, 75 Airports, 165, 173 Pendeen Pottery & Gal- Mineral Tramways Amusement parks, 36–37 lery (Pendeen), 46 Coast-to-Coast, 74 Ancient Cornwall, 50–55 Penlee House Gallery & National Cycle Route, 75 Animal parks and Museum (Penzance), rentals, 75, 85, 87, sanctuaries 11, 43, 49, 129 165, 173 Cornwall Wildlife Trust, Round House & Capstan tours, 84–87 113 Gallery (Sennen Cove, Birding, -
3-Night Cornwall Self-Guided Walking Holiday
3-Night Cornwall Self-Guided Walking Holiday Tour Style: Self-Guided Walking Destinations: Cornwall & England Trip code: SVPOA-3 1, 2, 3 & 4 HOLIDAY OVERVIEW Enjoy a break on the stunning Cornish coast with the walking experts; we have all the ingredients for your perfect self-guided escape. Chy Morvah - our country house - is superbly situated in the charming harbour town of St Ives. It makes a great base from which to enjoy all the delights that Cornwall has to offer - stunning coast, historic buildings, glorious gardens, fabulous beaches and perhaps a cream tea or ice-cream or two! The house is geared to the needs of walkers and outdoor enthusiasts. Enjoy hearty local food, make use of our detailed routes notes and maps and enjoy exploring Cornwall. WHAT'S INCLUDED • High quality en-suite accommodation in our country house • Full board - from dinner upon arrival to breakfast on departure day • The use of our Discovery Point to plan your walks – maps and route notes available www.hfholidays.co.uk PAGE 1 [email protected] Tel: +44(0) 20 3974 8865 HOLIDAYS HIGHLIGHTS • Use our Discovery Point, stocked with maps and walks directions, for exploring the local area • Our walks will take you to rugged granite headlands and glorious sandy beaches • Explore off the beaten track to peaceful corners, hidden coves and sleepy fishing villages • Visit St Michael's Mount • Join the local surf school • Explore the numerous galleries in St Ives • Enjoy evenings in Chy Morvah where you can share a drink and re-live the day's adventures TRIP SUITABILITY Explore at your own pace and choose the best walk for your pace and ability. -
Download Our Guide To
BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland. -
Introduction
Official WANDSWORTH BOROUGH COUNCIL BUILDINGS OF SPECIAL ARCHITECTURAL OR HISTORIC INTEREST INTRODUCTION The Secretary of State for Digital, Culture, Media and Sport is required to compile lists of buildings of special architectural or historic interest for the guidance of local planning authorities. Conservation policies are often based on the lists, which are being revised within nationally applied surveys of specific building types. How Buildings are Chosen The principles of selection for these lists were originally drawn up by an expert committee of architects, antiquarians and historians, and are still followed, although now adapted to thematic surveys and Post-War buildings. Buildings that qualify for listing are:- (a) All buildings before 1700 which survive in anything like their original condition. (b) Most buildings between 1700-1840, though some selection is necessary. (c) Between 1840 and 1914 only buildings of definite quality and character, the selection being designed to include the best examples of particular building types. (d) Selected buildings from the period after 1914 are selected on the same basis. (e) Buildings under 30 years old (but more than ten) are normally listed only if they are of outstanding quality and under threat. In choosing buildings, particular attention is paid to:- � Special value within certain types, either for architectural or planning reasons or as illustrating social and economic history (for instance, industrial buildings, railway stations, schools, hospitals, prisons, theatres). � Technological innovation or virtuosity (for instance cast iron, prefabrication, or the early use of concrete). � Group value, especially as examples of town planning (for instance, squares, terraces or model estates). � Association with well-known characters or events. -
Learning Resources for Home and School Sculpture Can Be Found Anywhere; You Just Have to Look for It!
Learning Resources for Home and School Sculpture can be found anywhere; you just have to look for it! Focus on: Barbara Hepworth Barbara Hepworth, ‘The Family of Man’ (three pieces from a series of nine), 1970. © AC Manley/Shutterstock.com Barbara Hepworth, ‘Summer Dance’, 1972 © the artist and courtesy New Art Centre, Roche Court Sculpture Park About the Artist: The sculptor Barbara Hepworth is considered by many to be the most influential female British artist of the 20th century. Born in Yorkshire in 1903, Hepworth left London at the outbreak of the Second World War and established herself in St Ives, Cornwall. Many of the simplified, organic, abstract forms and themes found in Hepworth's work can be linked to the Cornish landscape and coastline, and to journeys through the Yorkshire landscape with her father when she was a child. These experiences of sculptural forms in the landscape around her were a source of inspiration throughout her life. The Roche Court Educational Trust is based at the New Art Centre in Salisbury, which represents the Barbara Hepworth Estate. The New Art Centre has worked closely with Barbara Hepworth’s family on a global exhibitions and sales programme for over two decades. Hepworth's work is in many of the major museum collections throughout the world. Her studio in St Ives is now a museum dedicated to her work, owned and run by the Tate Gallery. Further to this, The Hepworth, a gallery in her home city of Wakefield, was named after her and opened in 2011. This resource is intended to encourage all ages, from early years to adults, to look, think and make in ways that are influenced by Hepworth’s iconic themes, style and methods. -
201914Th-28Th September Programme of Events
A TWO WEEK CELEBRATION OF MUSIC AND THE ARTS IN ST IVES CORNWALL ST IVES SEPTEMBER FESTIVAL 201914th-28th September Programme of Events Visit our website for updates and online booking: www.stivesseptemberfestival.co.uk and follow us on facebook, twitter and instagram. Tickets & Information Unless otherwise stated, tickets are available from: St Ives School of Painting l www.stivesseptemberfestival.co.uk Outside Workshops l Cornwall Riviera Box Office: 01726 879500 For outside workshops we recommend l Visit St Ives Information Centre, St Ives Library, Gabriel Street, St Ives TR26 2LU you bring sturdy walking shoes (or Opening hours: Mon to Sat 9.30am-5pm, Sun 10am-3pm 01736 796297 trainers) and either warm waterproof l Tourist Offices in Penzance, Truro, St Mawes, St Austell, Bodmin, Launceston, clothing, sunhats and sun cream as Liskeard. appropriate. We meet at Porthmeor l Tickets on the door if available. Studios but a few landscape workshops are based at the Penwith Studio, Information Points accessed via a steep cobbled ramp. l Café Art, The Drill Hall, Royal Square, St Ives. Mon, Wed, Fri, Sat 10am-4pm - Tues, Thurs 10am-5pm, Sun 11am-4pm l Outside Mountain Warehouse, Fore Street, Sat 14th and 21st 10am-5pm Pre-Concert Suppers The 2019 Festival Raffle Café Art, The Drill Hall, Win Cheese and Chocolate. Prize is donated by ‘Cheese On Coast’ and ‘I Should Chapel Street, St IvesTR26 2LR Coco’. Raffle tickets can be bought at a number of venues, including The Guildhall Vegetarian hot meals served in an and Café Art during the Festival. The winner will be announced at the end of October. -
Tate Liverpool Henry Moore Educators' Pack
Tate Liverpool Henry Moore Educators’ Pack Moon Head by Henry Moore “The small version of this piece was originally called ‘Head in Hand’, the hand being the piece at the back. When I came to make it full size, about eighteen inches high, I gave it a pale gold patina so that each piece reflected a strange, almost ghostly, light at the other. This happened quite by accident. It was because the whole effect reminded me so strongly of the light and shape of the full moon that I have since called it ‘Moon Head’.” Henry Moore Henry Moore, Moon Head, 1964 This sculpture by the British sculptor Henry Moore consists of two metal discs placed alongside each other. At first, these appear to be abstract forms, but as with most of Moore’s works, the shapes make reference to the human body. He has cut into each form, suggesting a mouth on one disc and fingers on the other. The forefinger and thumb are joined to form a gap, through which the head seems to be peering – perhaps at the moon. The sculpture also plays on the idea of the moon having a face. This work is unusual for Moore, whose sculptures are more typically bulky and solid. Moon Head is shallow in depth with tapered edges. Moore referred to these rims as being knife-edged, as one edge is sharp and the other blunt, like a knife. “Moon Head is one of several recent “knife edge” sculptures I’ve made - which have all come about through my interest in bone forms – for example the breast bones of birds – so light, so delicate, and yet so strong.” Henry Moore, 1981 Moore also thought that the “knife edge” works could have been subconsciously influenced by the sharp-edged Cycladic idols in the British Museum which he admired. -
Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection
Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1930 Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection Bowdoin College. Museum of Art Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Recommended Citation Bowdoin College. Museum of Art, "Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection" (1930). Museum of Art Collection Catalogues. 4. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/4 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivecatal00bowd_2 BOWDOIN MUSEUM OF FINE ARTS WALKER ART BUILDING DESCRIPTIVE CATALOGUE OF THE PAINTINGS, SCULPTURE and DRAWINGS and of the WALKER COLLECTION FOURTH EDITION Price Fifty Cents BRUNSWICK, MAINE 1930 THE RECORD PRES5 BRUNSWICK, MAINE TABLE OF CONTENTS PAGE List of Illustrations 3 Prefatory Note 4 Historical Introduction 8 The Walker Art Building 13 Sculpture Hall 17 The Sophia Walker Gallery 27 The Bowdoin Gallery 53 The Boyd Gallery 96 Base:.:ent 107 The Assyrian Room 107 Corridor 108 Class Room 109 King Chapel iio List of Photographic Reproductions 113 Index ...115 Finding List of Numbers 117 LIST OF ILLUSTRATIONS FACING PAGE Walker Art Building — Frontispiece Athens, by John La Farge 17 Venice, by Kenyon Cox 18 Rome, by Elihu Vcdder 19 Florence, hy Abbott Thayer 20 Alexandrian Relief Sculpture, SH-S 5 .. -
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..........................................................................