Anya Gallaccio
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List of Lights Radio Aids and Fog Signals 2011
PUB. 114 LIST OF LIGHTS RADIO AIDS AND FOG SIGNALS 2011 BRITISH ISLES, ENGLISH CHANNEL AND NORTH SEA IMPORTANT THIS PUBLICATION SHOULD BE CORRECTED EACH WEEK FROM THE NOTICE TO MARINERS Prepared and published by the NATIONAL GEOSPATIAL-INTELLIGENCE AGENCY Bethesda, MD © COPYRIGHT 2011 BY THE UNITED STATES GOVERNMENT. NO COPYRIGHT CLAIMED UNDER TITLE 17 U.S.C. *7642014007536* NSN 7642014007536 NGA REF. NO. LLPUB114 LIST OF LIGHTS LIMITS NATIONAL GEOSPATIAL-INTELLIGENCE AGENCY PREFACE The 2011 edition of Pub. 114, List of Lights, Radio Aids and Fog Signals for the British Isles, English Channel and North Sea, cancels the previous edition of Pub. 114. This edition contains information available to the National Geospatial-Intelligence Agency (NGA) up to 2 April 2011, including Notice to Mariners No. 14 of 2011. A summary of corrections subsequent to the above date will be in Section II of the Notice to Mariners which announced the issuance of this publication. In the interval between new editions, corrective information affecting this publication will be published in the Notice to Mariners and must be applied in order to keep this publication current. Nothing in the manner of presentation of information in this publication or in the arrangement of material implies endorsement or acceptance by NGA in matters affecting the status and boundaries of States and Territories. RECORD OF CORRECTIONS PUBLISHED IN WEEKLY NOTICE TO MARINERS NOTICE TO MARINERS YEAR 2011 YEAR 2012 1........ 14........ 27........ 40........ 1........ 14........ 27........ 40........ 2........ 15........ 28........ 41........ 2........ 15........ 28........ 41........ 3........ 16........ 29........ 42........ 3........ 16........ 29........ 42........ 4....... -
Where Do Ideas Come From?
Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others. -
Anya Gallaccio
Anya Gallaccio Born in Scotland, UK, 1963 Lives and works in San Diego CA and London, UK Goldsmiths College, University of London, London, UK 1985–88 Kingston Polytechnic, London, UK 1984–85 Solo exhibitions 2017 Forthcoming: Beautiful Minds, Thomas Dane Gallery, London, UK 2015 Anya Gallaccio, Silas Marder Gallery, Bridgehampton NY Anya Gallaccio, MCA San Diego, California CA Anya Gallaccio, Lehmann Maupin, NY 2014 Anya Gallaccio, Blum & Poe, Los Angeles CA STROKE, Jupiter Artland, Edinburgh, Scotland SNAP, Aldeburgh Festival, Snape Malting and Orford Ness, Suffolk, UK 2013 This Much is True, Hudson (Show)Room, Artpace, San Antonio TX 2012 The Light Pours Out of Me, Jupiter Artland, Edinburgh, Scotland Arthur’s Seat, Ingleby Gallery, Edinburgh, Scotland 2011 Highway, Annet Gelink Gallery, Amsterdam, Netherlands Where is Where it’s at, Thomas Dane Gallery, London Surf’s Up, La Jolla, San Diego CA 2010 Unknown Enhibition, The Eastshire Museums in Scotland, Kilmarnock, UK Annet Gelink Gallery, Amsterdam, Netherlands 2009 Four Galleries, Four Exhibitions, One Venue, Anya Gallaccio, 4x4, The Bluecoat, Liverpool, UK 2008 Anya Gallaccio: that open space within, Camden Arts Centre, London, UK Anya Gallaccio: Comfort and Conversation, Annet Gelink Gallery, Amsterdam, Netherlands 2007 Three Sheets To The Wind, Thomas Dane Gallery, London, UK Sybil, Houghton Hall, King’s Lynn, UK 2006 Anya Gallaccio, Galeria Leme, São Paulo, Brazil One Art, Sculpture Center, New York 2005 Shadow on the Things You Know, Blum & Poe, Los Angeles CA Silver Seed, Mount -
Build Collections Fund Talent Go Further Our Guide for Museums 2017 – 2018 Introduction 2
Build collections Fund talent Go further Our guide for museums 2017 – 2018 Introduction 2 Curators’ Art Pass 5 Building collections 6 Acquisition grants Gifts and bequests Commissions Collecting initiatives Developing talent 14 New Collecting Awards Curators and expertise Training and networking Supporting museums 20 Art Fund Museum of the Year Art Happens Art Tickets Exhibition and touring programmes Special projects Connecting communities 30 Promoting your museum Our audience Collaboration Campaigning and advocacy 40 Public appeals Advocacy Sector research Contacts 47 Introduction 5 Art Fund helps museums and galleries in the UK to develop their collections and put them at the service of a wide range of visitors and communities. We offer grants towards acquisitions, to support curatorial practice or projects and to facilitate the lending, borrowing, display and sharing of collections. We receive no government funding: our programmes are made possible by those who buy a National Art Pass, supplemented by the generous support of many trusts, foundations, individuals and companies. We understand the financial challenges faced by museums today. As we ourselves are sustained by fundraising at many levels, we want to pass on that experience and offer a range of opportunities to others so they may unlock new sources of support, expand networks and reach broader audiences. To keep up to date with Art Fund initiatives, funding schemes, marketing opportunities and news, subscribe to our Museum Bulletin at artfund.org/bulletin. And do contact us at any time. Please see our list of contacts on page 47. Joseph Kosuth, Word Family Tree #1B, 2008, Grundy Art Gallery, Blackpool. -
A Critical Exploration of Anya Gallaccio and Keith Arnatt
The Transformation of Objects and Materials: A Critical Exploration of Anya Gallaccio and Keith Arnatt. BA Art and Design 2019/20 Birmingham City University by Polly Brant. Word Count 4211 Introduction Transformation is defined as “the action of changing in form, shape, or appearance” (Oxford University Press, 2019). But how is something transformed? It could be a gradual process that happens over time, in which a dialogue is created between the organic state of an object and the developments it endures over its lifetime, causing its appearance to change. It could also be the perception of how something is viewed. The object in different situations can alter its value, or how it’s displayed could alter viewer engagement. The material substances could also cause transformation due to how they react and are formed. Whether they are manmade, or natural leads to different pathways of transformation. Through this exploration the way artists transform materials and objects using their practice will be investigated. This body of research will unpick how process, natural or constructed, can cause transformation, allowing the form and materiality of the object to shift into artistic imagery. There will be case studies of art practices from Anya Gallaccio and Keith Arnatt, who both in different ways transform objects and their context within their practice. Gallaccio and Arnatt both reference the concept of still life in their work through focusing on the commonplace objects. This use of the ordinary allows for transformations to be created, taking an object out of its usual context and allowing it to become something more. -
Dunwich Heath
News and events for summer 2019 Bedfordshire | Cambridgeshire | Essex Hertfordshire | Norfolk | Suff olk Thanks to you his is shaping up to be quite a year for In Suff olk, Sutton Hoo is home to one of the Moving into the heart of the region at Wimpole Now you can ease off and enjoy some smooth the National Trust and it’s all thanks to greatest archaeological discoveries of all time Estate near Cambridge you’re well underway with sailing as we head towards the gateway to the you. Whether you realise it or not, this and the best Anglo-Saxon story out there. a whole new way to arrive at Wimpole. It’s one of Norfolk Broads. You have helped restore Horsey Tsummer you’re uncovering, restoring, You’ve helped to release that story for everyone the most exciting chapters in this magnifi cent Windpump, which stands proud once again in conserving, protecting, transforming, and if that to learn and let their imaginations run wild by estate’s history. You’ve already created a new the landscape. You can now even enjoy the wasn’t enough you’re also raising a roof. totally transforming what you can see and do home for our splendid Shire horses and by the time amazing view from the top. there. You’re inspiring tomorrow’s storytellers, you’re fi nished everyone will arrive at a robust new The support you give through coming to historians, archaeologists and explorers, while car park, be given a proper Wimpole welcome in a Wherever your adventures take you this summer see us, holidaying with us, renewing your sparking some curiosity today. -
Orford Ness and the Offshore Sandbanks Have Always Been a Hazard to Shipping
The Lighthouse 6 Orford Ness and the offshore sandbanks have always been a hazard to shipping. Orfordness 1830, watercolour by J M W Turner on loan to the Whitworth Art Gallery, University of Manchester IN 1627 32 ships were wrecked in a storm off Orford Ness. This resulted in two lights Chart of the East Coast of England by William Heather, 1811 being established, the Great (or High) Light © Crown Copyright 2004, by permission of Her Majesty’s Stationery Office and the UK Hydrographic Office on the high point of the Ness, and the Low Light closer to the sea. The Low Light was Low Light c1858- FROM 1945 the lighthouse operated initially lit by candles. The High Light was 1860 by permission of normally again. fuelled by coal. Suffolk Record Office IN 1959 the oil lamps were converted to BY 1691 nearly 10m (30 feet) of shingle electricity. had been washed away, taking with it the IN 1866 and 1867 Low Light. The lights were also vulnerable to major additions IN 1965 the lighthouse became remotely attacks by pirates. and alterations controlled from Harwich and the keepers were undertaken. left Orford Ness. Charlie Underwood took on IN 1731 two brick lighthouses were built the position of ‘Attendant’ of the lighthouse Contract and the fuel changed to oil. in 1965. He visited the light regularly and drawing no 1, was on call at night in case of emergencies. 1866 by permission of Charlie wrote a history of the lighthouses for IN 1792 a new, ‘state of the art’ lighthouse Trinity House was erected. -
Michael Landy Selected Biography Born in London, 1963 Lives And
Michael Landy Selected Biography Born in London, 1963 Lives and works in London, UK 1985-88, Goldsmith's College Solo Exhibitions 2015 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 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 Three-piece, Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia H.2.N.Y, Alexander and Bonin, New York 2004 Welcome To My World built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, London, UK 2000 Handjobs (with Gillian Wearing), Approach Gallery, London, UK 1999 Michael Landy at Home, 7 Fashion Street, London, UK 1996 The Making of Scrapheap Services, Waddington Galleries, London, UK Scrapheap Services, Chisenhale Gallery, London; Electric Press Building, Leeds, UK (organised by the HenryMoore -
Orkney & Shetland Sea Kayaking
South East England & Channel Islands Sea Kayaking Derek Hairon et al. Sheffield Lincoln Skegness 25 24 23 22 Nottingham The Wash Derby Hunstanton Cromer King’s Lynn Norwich Great Yarmouth Peterborough 21 Lowestoft Bury St Edmunds Northampton Cambridge 20 Ipswich Banbury Orford Ness Milton Keynes 19 Felixstowe Colchester 18 Luton The Naze Clacton-on-Sea Oxford Southend-on-Sea LONDON 15 16 17 Isle of Staines Sheppey 12 14 13 Croydon Margate Ramsgate 11 Dover South Foreland Crawley Folkestone 10 Winchester Calais Southampton Dungeness Hastings 1 5 Brighton 9 2 3 7 4 6 Boulogne Littlehampton Eastbourne Portsmouth Beachy Head Selsey Bill 8 Isle of Wight FRANCE 0 10 20 30 40 Kilometres Nautical Miles 0 20 South East England and Channel Islands Sea Kayaking Derek Hairon, Andy Levick, Mark Rainsley, Mark Gawler, Annie Davis, Guy Smith, John Brett and Kurt Finch Pesda Press www.pesdapress.com First published in Great Britain 2015 by Pesda Press Tan y Coed Canol, Ceunant Caernarfon, Gwynedd LL55 4RN Wales Copyright © 2015 Derek Hairon, Andy Levick, Mark Rainsley, Mark Gawler, Annie Davis, Guy Smith, John Brett and Kurt Finch. ISBN: 978-1-906095-50-5 The Authors assert the moral right to be identified as the authors of this work. All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopying, recording or otherwise, without the prior written permission of the Publisher. Maps by Bute Cartographic Printed and bound in Poland, www.lfbookservices.co.uk Introduction Though geographically close, the two areas covered in this guide are as different in character as it is possible to conceive. -
Sector Lights
TSMAD22/DIPWG3-08.3A rev1 Digital Information and Portrayal Working Group (DIPWG) IHO S-52 ECDIS Presentation Library Major Lights with 360 Degree Sectors UK Hydrographic Office Version 0.91 [dated March 2011] Major Lights with 360 Degree Sectors Version 0.91 Table of Contents INTRODUCTION ............................................................................................................. 1 WHAT IS A MAJOR LIGHT IN AN ENC? ........................................................................... 1 Definitions ............................................................................................................................................................. 1 Where does that leave us? ...................................................................................................................................... 1 ANALYSIS OF LIGHT FEATURES AND FUNCTIONS .......................................................... 2 Lighthouses ........................................................................................................................................................... 2 Light Vessels ......................................................................................................................................................... 2 Other Navigational Non-Sectored Lights ................................................................................................................... 2 Harbour Approach Lights .................................................................................................................................... -
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 2017 To see if time was there, Austin Contemporary, Austin, TX 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, Tate, London, United Kingdom Sometimes with one I love, Annet Gelink Gallery, Amsterdam, The Netherlands 2002 beat, Duveen Sculpture Commission, Tate Britain, London, United Kingdom 2001 blessed, Lehmann Maupin, New York, NY 2000 -
Summer 2016 British Sculpture Abroad
British Art Studies Issue 3 – Summer 2016 British Sculpture Abroad, 1945 – 2000 British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Special issue edited by Penelope Curtis and Martina Droth www.britishartstudies.ac.uk Cover image: Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF produced on 9 Sep 2016 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. These unique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA http://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut http://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: http://www.britishartstudies.ac.uk Editorial team: http://www.britishartstudies.ac.uk/about/editorial-team Advisory board: http://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. Britishness, Identity, and the Three-Dimensional: British Sculpture Abroad in the 1990s Essay by Courtney J.