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Curators' Colloquium on Knitted Textiles
Fleece to Fashion Economies and Cultures of Knitting in Modern Scotland Curators’ Colloquium on Knitted Textiles Friday 29 January 2021 1.30 - 4.00 pm on Zoom PROGRAMME 1.30 Welcome and Introduction (Lynn Abrams, Carol Christiansen) 1.40-2.30 Acquisition, Identity and Interpretation Chair: Roslyn Chapman The Challenges of a ‘Living’ Knitwear Collection (Carol Christiansen, Shetland Museum and Archives) Scottish and European Knitted Textiles at National Museums Scotland: collecting, interpretation and display' (Helen Wyld, National Museums of Scotland) 2.30-3.00 Care and Conservation Chair: Sally Tuckett The Care and conservation of Knit Collections (Frances Lennard, University of Glasgow) 3.00-3.05 Leg stretch 3.05-3.50 Interpretation and Display – Conventional and Digital Chair: Lin Gardner Colour Revolution: Bernat Klein and the post-war market for handknitting (Lisa Mason, National Museum of Scotland) Glorious Ganseys: a glance at the Scottish Fisheries Museum’s collection of fishermen’s jumpers with particular focus “Knitting the Herring” and the creation of a National Database (Jen Gordon and Federica Papiccio, Scottish Fisheries Museum) 3.50-4.00 Summing Up and Next Steps Chair: Marina Moskowitz Speaker Biographies Carol Christiansen is Curator and Community Museums Officer at Shetland Museum and Archives. As curator, her main responsibility is the Museum’s nationally recognised textiles collection, which has a large knitted textile component. She holds a PhD from the University of Manchester in Archaeology with a specialisation in Textiles and has worked and published in the specialism with colleagues in the UK and Nordic countries. She is the author of Taatit Rugs: the pile bedcovers of Shetland (2015) and numerous articles on Shetland’s textile heritage. -
Graeme Todd the View from Now Here
GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect. -
Edinburgh Galleries Artist Training Programme
Copyright © Art, Design & Museology Department, 2005 Published by: Art, Design & Museology Department School of Arts & Humanities Institute of Education University of London 20 Bedford Way London WC1H 0AL UK All rights reserved. Except for the quotation of short passages for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 0-9546113-1-4 This project was generously supported by: The National Lottery, The City of Edinburgh Council and National Galleries of Scotland 1 The Edinburgh Galleries Artist Training Programme in collaboration with the Art, Design & Museology department, School of Arts & Humanities, Institute of Education, University of London A pilot programme supported by The National Lottery, The City of Edinburgh Council and National Galleries of Scotland Course Directors: Lesley Burgess, Institute of Education, University of London (IoE) Maureen Finn, National Galleries of Scotland Course Co-ordinator: Kirsty Lorenz Course Venues: Gallery of Modern Art, Edinburgh National Portrait Gallery, Edinburgh Participating Organisations: The Collective Gallery Edinburgh Printmakers Workshop Edinburgh Sculpture Workshop The Fruitmarket Gallery Stills Gallery Talbot Rice Gallery Course Leader: Lesley Burgess, IoE Session contributors: Nicholas Addison, IoE Lesley Burgess, IoE Anne Campbell, SAC Barbara Clayton Sucheta Dutt, SAC Fiona Marr Sue Pirnie, SAC Roy Prentice, IoE Helen Simons Rebecca Sinker, DARE and inIVA Sally Tallant, Serpentine Gallery, London Leanne Turvey, Chisenhale Gallery, London Research Report by: Lesley Burgess and Emily Pringle Photographs by: Lesley Burgess 2 EDINBURGH GALLERIES ARTIST TRAINING PROGRAMME RESEARCH EVALUATION REPORT OCTOBER 2003 1. -
Robert Maclaurin
ARTIST BIOGRAPHY – ROBERT MACLAURIN Robert Maclaurin is a prize winning landscape painter with an international reputation. A Menzies Fellowship in 1995-6 at the late Clifton Pugh's Dunmoochin Foundation Studio brought Maclaurin to Australia. He has made his permanent home and studio just outside Castlemaine since 2001. Well known for his impressive landscapes, and widely collected in Europe and America, Maclaurin exhibits regularly with gallery representation in London and Edinburgh. “You feel Maclaurin’s engagement with the earth, his feeling for its fragile, living surface. These paintings are as all true landscape should be; images of the real world, but metaphoric, lit by memory and enlarged by imagination, by sympathy and so ultimately by awe at the grandeur of what the Artist has experienced.” Prof. Duncan Macmillan, Talbot Rice Gallery, Edinburgh. Qualifications 1979-83 Edinburgh College of Art, Scotland, BA (Hons) in Drawing & Painting 1983-84 Edinburgh College of Art, Postgraduate Diploma (with distinction) Drawing and Painting, ECA Postgraduate School Selected Awards, Commissions, Prizes 2005 First prize James Farrell portrait award, Castlemaine 2002 Scottish National Portrait Gallery – commissioned to paint Hamish MacInnes, Scottish mountaineer 1998 First prize winner Noble Grossart painting prize, Scotland 1995 Sir Robert Menzies fellowship – painting Australia 1990 Royal Overseas League Salisbury Festival painting prize 1989 Scholarship – International weeks of painting, Slovenia 1986 Hunting Group painting prize – Young -
Easter Bush Campus Edinburgh Bioquarter the University in the City
The University in the city Easter Bush Campus Edinburgh BioQuarter 14 Arcadia Nursery 12 Greenwood Building, including the 4 Anne Rowling Regenerative Neurology Clinic Aquaculture Facility 15 Bumstead Building 3 Chancellor’s Building Hospital for Small Animals 13 Campus Service Centre 2 1 Edinburgh Imaging Facility QMRI R(D)SVS William Dick Building 10 Charnock Bradley Building, including 1 5 Edinburgh Imaging Facility RIE (entrance) Riddell-Swan Veterinary Cancer Centre the Roslin Innovation Centre 3 2 Queen’s Medical Research Institute Roslin Institute Building 7 Equine Diagnostic, Surgical and 11 6 Scottish Centre for Regenerative Medicine Critical Care Unit 5 Scintigraphy and Exotic Animal Unit 6 Equine Hospital 8 Sir Alexander Robertson Building Public bus 4 Farm Animal Hospital DP Disabled permit parking P Public parking 9 Farm Animal Practice and Middle Wing P Permit parking Public bus The University Central Area The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336. in Scotland, with registration registered The University of Edinburgh is a charitable body, ). 44 Adam House 48 ECCI 25 Hope Park Square 3 N-E Studio Building 74 Richard Verney Health Centre 38 Alison House 5 Edinburgh Dental 16 Hugh Robson Building 65 New College Institute 1–7 Roxburgh Street 31 Appleton Tower 4 Hunter Building 41 Old College and 52 Evolution House Talbot Rice Gallery Simon Laurie House 67 Argyle House 1 46 9 Infirmary Street 61 5 Forrest Hill Old Infirmary Building St Cecilia’s Hall 72 Bayes Centre -
29 July–29 August 2021 Edinburghartfestival.Com #Edartf
Platform: 2021 Art Across the Capital Commissions Programme Art is Back Explore Platform: 2021, our exhibition for early As galleries reopen after many months of closure, Our 2021 programme features new commissions We are so delighted to return this year, to work career artists, with new work from Jessica Higgins, this year, more than any, we are proud to cast a and UK premieres by leading international artists, with partners across the city, to showcase the work Danny Pagarani, Kirsty Russell and Isabella Widger spotlight on the uniquely ambitious, inventive and including new work by Sean Lynch co-commissioned of artists from Scotland, the UK and around the world. presented at our festival home in the Institut français thoughtful programming produced each year by with Edinburgh Sculpture Workshop and by Emeka Some exhibitions are newly made in response to the d’Ecosse. While visiting you can also browse festival Edinburgh’s visual art community. Ogboh with Talbot Rice Gallery; alongside the UK seismic shifts of the past year; others have been many merchandise and find out more about the exhibitions premiere of Isaac Julien’s Lessons of the Hour, presented years in the planning; but all are the unique, authentic, and events taking place across the city at our With over 20 partner galleries across the capital, in partnership with National Galleries of Scotland. and thoughtful products of our city’s extraordinarily Festival Kiosk. we encourage you to explore the programme and We are also proud to collaborate with Associate Artist, rich visual art scene. support the incredible visual art organisations that Tako Taal, on her programme What happens to desire… Festival Kiosk the city has to offer. -
Biography Daniel F
Newsletter No 44 Winter 2013/14 From the Chair and archives in Glasgow and Edinburgh. This relates to her broader research on two other This year has been both varied and enjoyable illustrators from the Pre-Raphaelite circle, Arthur as my first and also final year as Chair. There has Hughes and Frederick Sandys, but also promises to been a lot to learn but the main focus throughout lead to a separate study on King. has been on keeping a continuity in what the In relation to art historical research, there is a society does. And the experience and tireless work report on the recent conference ‘Et in Archiva Ego: of our committee has been an invaluable factor in Artists in the Archives’, which some of our maintaining our range of activities, from this members had the chance to attend. This was a newsletter, our forthcoming journal through to the succinct but enlightening one-day event that tours that we have organised this year. explored different aspects of what is involved in As the final issue of the year, the pages of researching the life and work of artists as well as this newsletter recall some of these more recent the intriguing ways that artists use and respond to activities, including reviews of our two most recent the archive. And, finally, there is a feature article tours. Shannon Hunter Hurtado describes an by Fiona Pearson on the late Sir Eduardo Paolozzi, afternoon spent in early September at the newly in which she draws on her in-depth knowledge and renovated Black Watch Castle and Museum, Perth, acquaintance with the artist from her years and I report on our visit to the Dovecot Studios, working with his gift to the National Galleries of Edinburgh, where we had a practical Scotland. -
Stephanie Mann Talbot Rice Residents 01
Stephanie Mann Talbot Rice Residents 01 Stephanie Mann is fascinated by the exploration of objects – their inherent properties and latent possibilities. Mann’s work conflates the act of thinking, working and play in bringing disparate elements together, re-balancing established hierarchies, and instigating new relationships between things. Within her sculptural assemblages, digital prints, video works and texts, Mann combines intellectual curiosity and a trust in subconscious Stephanie Mann impulse to inform the objects that will become Talbot Rice Residents her subjects. She builds compositions of natural and artificial materials, pairing incongruous companions in dialogue – loud neon pieces sit with muted organic matter, roughly textured compounds meet soft and shiny forms, whilst Mann’s own body, or body parts, often feature in the tableaux, as either an equal element or agent of disruption. What objects are kept? Why, how and for whom? Mann is drawn to collections and archives, exploring the human desire to collect, and the potential futures of collections in an increasingly digital, non-material world. She asks what it means for the ‘chosen’ objects to be preserved in their original form. And how these established customs might be challenged or Artist destabilised, by introducing elements that, by nature or design, are in a state of flux – unruly Intro objects that defy the conventions of traditional conservative collecting. Mann assumes the role of amateur alchemist, occupying the fertile space between scientific scrutiny and playful speculation. Her interests and research range widely, from geology and anatomy to philosophy, filtered through a ludic spirit, to create poetic scenarios and provocative encounters. -
Summer School of Arts in the University of Edinburgh
USEFUL STAFF AT THE ADDRE SSE S CONFUCI US I NSTI TUTE The Confucius Institute Edinburgh FOR SCOTL A ND for Scotland Information Centre Abden House 3 Princes St Professor Natascha Gentz, Director 1 Marchhall Crescent Edinburgh EH2 2QP Dr Ri Jin, Co-Director Edinburgh EH16 5HP T: 0131 473 3898 Frances Christensen, General Manager T: 0131 662 2180 www.visitscotland.com Jie Chen, Business Development Administrator E: [email protected] Xin Zhang, Administrative Assistant National Museum of Scotland www.confuciusinstitute.ac.uk Chambers St Please let us know if you need any help Edinburgh College of Art Edinburgh EH1 1JF during your time in Scotland. University of Edinburgh www.nms.ac.uk 74 Lauriston Place Scottish National Gallery Edinburgh EH3 9DF The Mound T: 0131 651 5800 Edinburgh EH2 2EL www.ed.ac.uk/eca www.nationalgalleries.org Unite Accommodation Scottish National Gallery Portsburgh Court of Modern Art 56 Lady Lawson Street 75 Belford Road Edinburgh EH3 9DH Edinburgh EH4 3DR T: 0131 656 0798 www.nationalgalleries.org www.unite-students.com/ edinburgh/portsburgh-court Scottish National Portrait Gallery 1 Queen Street Edinburgh EH2 1JD www.nationalgalleries.org SUMMER SCHOOL OF ARTS IN THE UNIVERSITY OF EDINBURGH OUR PARTNE R S Leaflet design by Red Empire Female dancer photo by Graham Wylie Front cover performance artist photo by jan kranendonk / Shutterstock.com Male dancer photo by Ryan Schude Royal Edinburgh Military Tattoo image by domhnall dods / Shutterstock.com Printed in Scotland by CCB on 100% recycled FSC-approved paper. SUMMER OF ARTS PROGRAMME SUNDAY 3 AUGUST TUESDAY 5 AUGUST Arrival from York by coach • 0930-1100 Lecture: Ming - The Golden Empire. -
Rachel Maclean Born 1987, Edinburgh
Rachel Maclean Born 1987, Edinburgh. Lives and works in Glasgow. www.rachelmaclean.com Education: 2005 to 09 BA Honours Drawing and Painting, Edinburgh College of Art, Scotland 2008 School of the Museum of Fine Arts Boston, USA Video still from Make Me Up (2018) 1 Recent Press coverage: 2019 Guardian: https://www.theguardian.com/artanddesign/2019/jan/25/too-cute-review-birmingham 2018 Guardian: https://www.theguardian.com/artanddesign/2018/aug/05/rachel-maclean-artists-in- residence-channel-4-birmingham-bullring 2018 Financial Times: https://www.ft.com/content/a6cb6d0a-bfee-11e8-95b1-d36dfef1b89a 2018 BFI: https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews- recommendations/make-me-up-rachel-maclean-digital-suffragette-satire-art-history 2018 BBC: https://www.bbc.co.uk/programmes/articles/VH2tVhVH0qnRXxLpTGYjvV/day-glo- dystopia-rachel-macleans-techno-fable-make-me-up 2017 The Scotsman: https://www.scotsman.com/lifestyle/culture/art/art-review-rachel-maclean-spite- your-face-1-4447789 2016 Frieze: https://frieze.com/article/focus-rachel-maclean VR still from I’m Terribly Sorry (2018) 2 Solo Exhibitions: Upcoming November 2019 Solo exhibition at Tel Aviv Museum of Art, Israel Upcoming September 2019 Solo exhibition at Arsenal Contemporary NYC, USA 2019 Tales of Disunion, Solo exhibition at Nassauischer Kunstverein, Wiesbaden, Germany 2019 Make Me Up, Solo exhibition at Kunsthalle Winterthur, Winterthur, Switzerland 2018 Please, Sir…, Solo exhibition at Gus Fisher Gallery, University of Auckland, New Zealand 2018/19 The Lion and The Unicorn, The National Gallery, London, England 2018/19 Rachel Maclean: Solo Exhibition, KWM Arts Centre, Beijing, China 2018 Spite Your Face, Rachel Maclean, Chapter, Cardiff, Wales 2018 Rachel Maclean: Solo Exhibition, Zabludowicz Collection, London, England 2018 Just B Yourself, Rachel Maclean, Dublin City Art Gallery, Dublin 2018 New Worlds, State of Concept, Athens, Greece 2018 Rachel Maclean: Solo Exhibition. -
University of Edinburgh Museums & Galleries
UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _______________________________________________________________________ APPROVED BY UNIVERSITY COURT XX XXXX 2010 INDEX 1 INTRODUCTION 1.1 Introduction 1.2 Museums & Galleries Collections 1.3 Director of University Collections Office and Museums Development 2 EXTERNAL VALIDATION 2.1 Accreditation with the Council for Museums, Libraries & Archives 2.2 Recognised Collections of National Significance to Scotland 3 MANAGEMENT & GOVERNANCE 3.1 Management 3.2 The Governing Body 3.3 University Collections Advisory Committee (UCAC) 3.4 Committee of Curators of University Committees (CCUC) 3.5 The Talbot Rice Advisory Board (TRGAB) 3.6 Financial Management 3.7 Workforce Development 4 POLICIES APPENDICIES A University Collections Strategic Development Plan 2010-2015 A1 Edinburgh University Collection of Historic Musical Instruments A2 Fine Art Collections A3 Natural History Collections A4 Cockburn Museum A5 Talbot Rice Gallery Business Plan 2011/2013 B Museums & Galleries General Acquisitions & Disposal Policy 2010-2015 B1 Policy Statement – Edinburgh University Collection of Historic Musical Instruments B2 Policy Statement – Natural History Collections B3 Guidelines for deciding on requests for the repatriation of items from the University Collections C Access Policy D Collections Management & Preservation Policy E Forward Plans for the University of Edinburgh Collections 09/10 E1 Edinburgh University Collection of Historic Musical Instruments E2 Fine Art Collections F Committee Membership & Remits 1 UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _________________________________________________________________ 1. INTRODUCTION 1.1 The University of Edinburgh has a 400 year history of collecting and maintaining culturally and scientifically significant objects, samples and artefacts in a number of fields. This document outlines the context for the policies governing the University’s museums and galleries collections. -
The Cockburn Association Edinburgh and East Lothian
THE COCKBURN ASSOCIATION EDINBURGH AND EAST LOTHIAN DOORSDAYS OPEN SAT 29 & SUN 30 SEPTEMBER 2018 Cover image: Barnton Quarry ROTOR Bunker. EDINBURGH DOORS OPEN DAY 2018 SAT 29 & SUN 30 SEPTEMBER SUPPORT THE COCKBURN ASSOCIATION AND EDINBURGH DOORS OPEN DAY Your support enables us to organise city WHO ARE WE? wide free events such as Doors Open Day, The Cockburn Association (The Edinburgh bringing together Edinburgh’s communities Civic Trust) is an independent charity which in a celebration of our unique heritage. relies on the support of its members to protect All members of the Association receive and enhance the amenity of Edinburgh. We an advance copy of the Doors Open Day have been working since 1875 to improve programme and invitations throughout the built and natural environment of the city the year to lectures, talks and events. – for residents, visitors and workers alike. If you enjoy Doors Open Days please We campaign to prevent inappropriate consider making a donation to support our development in the City and to preserve project www.cockburnassociation.org.uk/ the Green Belt, to promote sustainable donate development, restoration and high quality modern architecture. We are always happy If you are interested in joining the Association, visit us online at www.cockburnassociation. to advise our members on issues relating org.uk or feel free to call or drop in to our to planning. offices at Trunk’s Close. THE COCKBURN ASSOCIATION The Cockburn Association (The Edinburgh Civic Trust) For Everyone Who Loves Edinburgh is a registered Scottish charity, No: SC011544 TALKS & TOURS 2018 P3 ADMISSION BALERNO P10 TO BUILDINGS BLACKFORD P10 Admission to all buildings is FREE.