DOCSLIB.ORG

Stephen Cox Interviewed by Denise Hooker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stephen Cox Interviewed by Denise Hooker NATIONAL LIFE STORIES ARTISTS’ LIVES Stephen Cox Interviewed by Denise Hooker C466/30 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/30/01-16 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Cox Title: Interviewee’s forename: Stephen Sex: male Occupation: Artist Dates: 1946 Dates of recording: 1995.05.12, 1995.05.23, 1995.07.03, 1995.07.11, 1995.11.05 Location of interview: Interviewee’s home Name of interviewer: Denise Hooker Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4913-F4928 Total no. of digitised tracks : 32 Mono or stereo: Stereo Additional material: Copyright/Clearance: Full clearance. © The British Library Interviewer’s comments: © The British Library Board http://sounds.bl.uk Stephen Cox F4913A C466/30/01 Page 1 F4913 Side A [Interview with Stephen Cox at his home on the 12th of May 1995. Interviewer Denise Hooker.] Tell me when and where you were born. I was born in Bristol in 1946. Well, I'd like to try and go back to your grandparents really. Did they play an important part in your life, did you know them? No I didn't know them at all. I had one grandparent who I knew. My father's mother died of cancer long before I was born, and his father, I don't even really know anything about him. My mother's father was in the Navy and was gassed in the First World War, before I was born, and my grandmother was someone who I knew and grew up close to in Bristol in the suburb of Bedminster. Did you go to her house, or did she come to you? I think probably it was reasonably traditional; it was one of those neighbourhood situations, my grandmother lived just three or four hundred yards down the road in a house that survived bombing. Our house was destroyed and my mother took the family to live in another part of south-west Bristol, Bishopsworth, for a period of time. Again I'm not quite clear about the proximity of my grandmother at that time, but I think probably she stayed in her own home, and we moved back to Bedminster to a house that was rebuilt on the ruins of the old house in Hengaston Street. So - it's a marvellous name, isn't it - that was your mother's house? That was my parents' house. © The British Library Board http://sounds.bl.uk Stephen Cox F4913A C466/30/01 Page 2 Your parents' house. Mm, which was a rented house, a small terraced house. The rest of the family, I suppose if one doesn't talk about one's grandparents because one has very little recollection of them, I mean there are some rather interesting skeletons in the cupboard which me might talk about one of these days, but let's say in the nature of the family my father had a reasonably, I say reasonably large family, I think probably had about six brothers and sisters, about half of them lived reasonably close by, but we didn't really have a very very close association with his side of the family. And my mother's side of the family were spread reasonably throughout Bristol in different parts of south Bristol mainly, and they all came together usually for high days and holidays, Christmases and bank holidays and things like that, so we did actually get together and there was quite a strong family sense of communion in terms of getting together, and the house seemed to be a place that people, other parts of the family rather more distant, people, cousins who lived in Wales, when I say distant we're talking about a very very short distance in terms of these days but we might see other members of the family once or twice a year and they would drop by in the cars that were not very many in those days. So, did your grandmother talk to you about your grandfather, or her parents? She came to...yes, she didn't really. I've got very little recollection of my grandmother bouncing me on her knee; maybe she was too frail in a way. She was always very old I suppose in terms of my recollection of her. I'm the youngest of four sons and I think I only ever remember my grandmother being really quite old, and I don't think she was...she suffered from deafness, I don't think conversation was particularly easy for her. And so the history of our family is rather more, well as time's gone by it's been rather interesting that my mother's sister seems to recall some of the rather interesting aspects of quite curious early relationships in the family. Tell me about those. © The British Library Board http://sounds.bl.uk Stephen Cox F4913A C466/30/01 Page 3 Well one very curious thing which was always...was never spoken about, and it seems to be that my grandmother married her half-brother, and it was to do with an adoption in her family of someone, a child, and they grew up together, but it transpired that the half child, the half-brother was the issue of a relation that went to live in America and left his wife behind, presumably divorced, and I think he left when she was pregnant. So there was a kind of a strange...anyway, I can't quite get it clear in my mind, but there was a notion that a part of the family wasn't...the family wasn't spoken about a great deal, and possibly it was because of, there was this little bit of suspicion over the way things worked. [BREAK IN RECORDING - TELEPHONE] Do you feel deprived only having had one grandparent? [LAUGHS] I think, probably, it's...yes I suppose I am in a way, I suppose one...everybody else has... I think it's unusual in actual fact to only have memory of one grandparent. My brothers possibly have recollections of grandparents on the other side, I think not; it all seemed to happen after the First World War. Do you know what your grandfather did? My grandfather on my mother's side, who was in the Navy, was in fact a time-serving sailor, but he was also, rather interestingly he was an instructor in what was called the Nautical School at Portishead, which was a borstal, a place where young offenders would be sent for the discipline of an eventual, probably enrolment in the Navy, and he was a gym instructor, a physical training instructor. And I suppose, I've got quite a strong recollection of my grandfather through photographs, which show him standing barrel-chested amongst all these young crew-cutted kids jumping, vaulting, standing in formation, sitting with sabres across their knees from fencing. He was quite an accomplished sportsman. And it's said, I've forgotten who it was but he actually, when he was in the Navy I think he went to America once and he actually fought a bout boxing against a great American heavyweight, and although he wasn't himself a heavyweight he actually lasted some time in the ring with this quite famous boxer. And, I think he might have been champion of the British fleet or something as well, so he was quite an accomplished athlete. And, I suppose that had a bearing...I mean © The British Library Board http://sounds.bl.uk Stephen Cox F4913A C466/30/01 Page 4 in terms of, let's say, genetically my family, my brothers were all pretty athletic one way or another. Did you hear anything about his family and how he was brought up? No, I think probably that's something I would have to again interview my aunts. Maybe that's something again that we could almost go into, because it is interesting, I think it's quite interesting the stigma that obviously has affected an area of the history of a family, there's a shadowy area, and of course that's terribly interesting now, but the shame I think is something that is of interest to us, probably because, I mean it didn't happen very much, it's happened, it's one of those things, but it's kind of curious. It rather makes us different in a way I suppose.
Load more

Recommended publications
  • D'art Ambition D'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony
    Ambition d’art AmbitionAlighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner d’art16 May – 21 September 2008 The Institut d’art contemporain aspect (an anniversary) and the is celebrating its 30th anniversary setting – the inauguration of an in 2008 and on this occasion exhibition in the artistico-political has invited its founder, context of the 2000s – it is aimed Jean Louis Maubant, to design at shedding light on what the an exhibition, accompanied by an ‘ambition’ of art and its ‘world’ important publication. might be. The exhibition Ambition d’art, held in partnership with the The retrospective dimension Rhône-Alpes Regional Council of the event is presented above and the town of Villeurbanne, is a all in the two volumes (Alphabet strong and exceptional event for and Archive) of the publication to the Institute: beyond the anecdotal which it has given rise. Institut d’art contemporain, Villeurbanne www.i-art-c.org Any feedback in the exhibition is Yona Friedman, Jordi Colomer) or less to commemorate past history because they have hardly ever been than to give present and future shown (Martha Rosler, Alighiero history more density. In fact, many Boetti, Jeff Wall). Other works have of the works shown here have already been shown at the Institut never been seen before. and now gain fresh visibility as a result of their positioning in space and their artistic company (Luciano Fabro, Daniel Buren, Martha Rosler, Ambition d’art Tony Cragg, On Kawara). For the exhibition Ambition d’art, At the two ends of the generation Jean Louis Maubant has chosen chain, invitations have been eleven artists for the eleven rooms extended to both Jordi Colomer of the Institut d’art contemporain.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Strategic Anomalies: Art & Language in the Art School 1969-1979
    Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ the Art School 1969-1979 ​ ​ ​ ​ ​ ​ Mark Dennis ​ ​ A thesis submitted in partial fulfilment of the University’s ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ requirements for the Degree of Master of Philosophy/Master of ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Research September 2016 ​ ​ Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit.
    [Show full text]
  • Art and Language 14Th November – 18Th January 2003 52 - 54 Bell Street
    Art and Language 14th November – 18th January 2003 52 - 54 Bell Street Lisson Gallery is delighted to announce an exhibition by Art & Language. Art and Language played a key role in the birth of Conceptual Art both theoretically and in terms of the work produced. The name Art & Language was first used by Michael Baldwin, David Bainbridge, Harold Hurrell and Terry Atkinson in 1968 to describe their collaborative work which had been taking place since 1966-67 and as the title of the journal dedicated to the theoretical and critical issues of conceptual art. The collaboration widened between 1969 and 1970 to include Ian Burn, Mel Ramsden, Joseph Kosuth and Charles Harrison. The collaborative nature of the venture was conceived by the artists as offering a critical inquiry into the social, philosophical and psychological position of the artist which they regarded as mystification. By the mid-1970s a large body of critical and theoretical as well as artistic works had developed in the form of publications, indexes, records, texts, performances and paintings. Since 1977, Art and Language has been identified with the collaborative work of Michael Baldwin and Mel Ramsden and with the theoretical and critical collaboration of these two with Charles Harrison. The process of indexing lies at the heart of the endeavours of Art and Language. One such project that will be included in the exhibition is Wrongs Healed in Official Hope, a remaking of an earlier index, Index 01, produced by Art & Language for the Documenta of 1972. Whereas Index 01 was intended as a functioning tool in the recovery and public understanding of Art and Language, Wrongs Healed in Official Hope is a ‘logical implosion’ of these early indexes as conversations questioning the process of indexing became the material of the indexing project itself.
    [Show full text]
  • Conceptual Art in Britain 1964–1979 Art & Language Large Print Guide
    Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Art & Language Large Print Guide Please return to exhibition entrance Art & Language 1 To focus on reading rather than looking marked a huge shift for art. Language was to be used as art to question art. It would provide a scientific and critical device to address what was wrong with modernist abstract painting, and this approach became the basis for the activity of the Art & Language group, active from about 1967. They investigated how and under what conditions the naming of art takes place, and suggested that meaning in art might lie not with the material object itself, but with the theoretical argument underpinning it. By 1969 the group that constituted Art & Language started to grow. They published a magazine Art-Language and their practice became increasingly rooted in group discussions like those that took place on their art theory course at Coventry College of Art. Theorising here was not subsidiary to art or an art object but the primary activity for these artists. 2 Wall labels Clockwise from right of wall text Art & Language (Mel Ramsden born 1944) Secret Painting 1967–8 Two parts, acrylic paint on canvas and framed Photostat text Mel Ramsden first made contact with Art & Language in 1969. He and Ian Burn were then published in the second and third issues of Art-Language. The practice he had evolved, primarily with Ian Burn, in London and then after 1967 in New York was similar to the critical position regarding modernism that Terry Atkinson and Michael Baldwin were exploring.
    [Show full text]
  • Shirazeh Houshiary B
    Shirazeh Houshiary b. 1955, Shiraz, Iran 1976-79 Chelsea School of Art, London 1979-80 Junior Fellow, Cardiff College of Art 1997 Awarded the title Professor at the London Institute Solo Exhibitions 1980 Chapter Arts Centre, Cardiff 1982 Kettle's Yard Gallery, Cambridge 1983 Centro d'Arte Contemporanea, Siracusa, Italy Galleria Massimo Minini, Milan Galerie Grita Insam, Vienna 1984 Lisson Gallery, London (exh. cat.) 1986 Galerie Paul Andriesse, Amsterdam 1987 Breath, Lisson Gallery, London 1988-89 Centre d'Art Contemporain, Musée Rath, Geneva (exh. cat.), (toured to The Museum of Modern Art, Oxford) 1992 Galleria Valentina Moncada, Rome Isthmus, Lisson Gallery, London 1993 Dancing around my ghost, Camden Arts Centre, London (exh. cat.) 1993-94 Turning Around the Centre, University of Massachusetts at Amherst Fine Art Center (exh. cat.), (toured to York University Art Gallery, Ontario and to University of Florida, the Harn Museum, Gainsville) 1994 The Sense of Unity, Lisson Gallery, London 1995-96 Isthmus, Le Magasin, Centre National d'Art Contemporain, Grenoble (exh. cat.), (touring to Museum Villa Stuck, Munich, Bonnefanten Museum, Maastricht, Hochschule für angewandte Kunst, Vienna). Organised by the British Council 1997 British Museum, Islamic Gallery 1999 Lehmann Maupin Gallery, New York, NY 2000 Self-Portraits, Lisson Gallery, London 2002 Musuem SITE, Santa Fe, NM 2003 Shirazeh Houshiary - Recent Works, Lehman Maupin, New York Shirazeh Houshiary Tate Liverpool (from the collection) Lisson Gallery, London 2004 Shirazeh Houshiary,
    [Show full text]
  • Listed Exhibitions (PDF)
    G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England.
    [Show full text]
  • Press Release
    For Immediate Release. Tony Cragg February 1 – March 10, 2012 Opening reception: Wednesday, February 1st, 6-8 pm. Marian Goodman Gallery is delighted to present an exhibition of new sculpture by Tony Cragg opening on Wednesday, February 1st, and continuing through Saturday, March 10th. The exhibition will feature recent sculptures in bronze, corten steel, wood, cast iron, and stone. Concurrently, and accompanying the gallery presentation, a group of large scale works will be exhibited at The Sculpture Garden at 590 Madison Avenue (entrance at 56th Street). The Sculpture Garden is open to the public daily from 8 am to 10 pm. Tony Cragg is one of the most distinguished contemporary sculptors working today. During the past year, there have been several important solo exhibitions of his work worldwide: Seeing Things at The Nasher Sculpture Center, Dallas; Figure In/ Figure Out at The Louvre, Paris; Museum Küppersmühle für Moderne Kunst, Duisburg, Germany; Tony Cragg in 4 D from Flux to Stability at The International Gallery of Modern Art, Venice; It is, Isn’t It at the Church of San Cristoforo, Lucca, Italy; and Tony Cragg: Sculptures and Drawings at The Scottish National Gallery of Modern Art, Edinburgh. Cragg’s work developed within the context of diverse influences including early experiences in a scientific laboratory; English landscape and time-based art, a precursor to the presenting of found objects and fragments that characterized early performative work; and Minimalist sculpture, an antecedent to the stack, additive and accumulation works of the mid- seventies. Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Alison Wilding
    !"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New
    [Show full text]
  • Annual Report 2019/2020 Contents II President’S Foreword
    Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic.
    [Show full text]
  • The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-82
    The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-821 5323 The Annual General Meeting of The Contemporary Art Society will be held at the Warwick Arts Trust, 33 Warwick Square, London S.W.1. on Monday, 14 July, 1986, at 6.15pm. 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December, 1985, together with the auditors'report. 2. To reappoint Neville Russeii as auditors of the Society in accordance with section 14 of the Companies Act, 1976, and to authorize the committee to • determine their remuneration for the coming year, 3. To elect to the committee the following who have been duly nominated: Sir Michael Culme-Seymour and Robin Woodhead. The retiring members are Alan Bowness and Belle Shenkman. 4. Any other business. By order of the committee Petronilla Silver Company Secretary 1 May, 1986 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Cover: The Contemporary Art Society 1910-1985 Poster by Peter Blake {see back cover and inside lor details) Her Majesty Queen Elizabeth The Queen Mother The CAS celebrated its 75th birthday this year. My report will be shorter than usual in order to allow space to print the speech made by Sir John Sainsbury when proposing the toast to the Society at. our birthday party at Christie's. Although, in fact, our Nancy Balfour OBE celebrations took place at the beginning of 1988, we felt an account rightly belonged in this year's report.
    [Show full text]