DOCSLIB.ORG

RALPH RUGOFF, Curriculum Vitae 2006‒Present Director, Hayward

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RALPH RUGOFF, Curriculum Vitae 2006‒Present Director, Hayward RALPH RUGOFF, curriculum vitae 2006–present Director, Hayward Gallery, London 2000-06 Director, CCA Wattis Institute for Contemporary Arts, San Francisco CURATING (a selection) 2016 The Infinite Mix, group exhibition of contemporary video installations. Hayward Gallery exhibition presented at The Store, 180 Strand, London. 2015 XIII Biennale de Lyon: La Vie Moderne Carsten Holler: Decision. Survey show at the Hayward Gallery. 2014 The Human Factor, Hayward Gallery. Group exhibition exploring contemporary sculpture related to the human figure. 2013 The Alternative Guide to the Universe, Hayward gallery. Group exhibition featuring ‘outsiders’ including artists, scientists, urbanists, architects and technologists who envision alternative scenarios. 2012 Invisible: Art about the Unseen, 1957-2012, Hayward Gallery. Featuring 26 artists including Yves Klein, Yoko Ono, Robert Barry, Chris Burden. Wide Open School, presented at Hayward Gallery. Over 100 artists from 40 different countries devised and led public experiments in learning. Jeremy Deller: Joy In People, Hayward Gallery. Retrospective touring to Wiels Centre, Brussels; ICA, Philadelphia; St Louis Contemporary Art Museum 2011 George Condo: Mental States. Retrospective presented at New Museum, New York; Museum Boijmans van Beuningen Museum, Rotterdam; Hayward Gallery, London; and Schirn Kunsthalle, Frankfurt. Tracey Emin: Love Is What You Want (co-curator), Hayward Gallery 2010 The New Décor, group exhibition featuring 33 international sculptors. Presented at Hayward Gallery, and toured to The Garage, Moscow. 2009 Ed Ruscha:50 Years of Painting. Presented at Hayward Gallery, and toured to Haus der Kunst, Munich; Moderna Museet, Stockholm. 2008 Psycho Buildings, group exhibition at Hayward Gallery featuring 10 artists who explore how built spaces function as social, psychological, and perceptual environments. 2007 The Painting of Modern Life, group show exploring the history of how photographic source materials have been used by artists since the 1960s, from Warhol and Richter to Tuymans and Dumas. Presented at the Hayward Gallery, London, and Castello di Rivoli, Turin. Co-curator, Antony Gormley: Blind Light, Hayward Gallery 2006 Shoot the Family, an international survey of works in which conceptual and post-conceptual artists portray their own domestic partners and families. Presented at CCA Wattis Institute and toured to Cranbrook Museum of Art, Knoxville Museum of Art. 2005 Thomas Hirschhorn, UTOPIA, UTOPIA = ONE WORLD, ONE WAR, ONE ARMY, ONE DRESS. Exhibition co-curated with Nicholas Baume. Presented at Boston ICA and CCA Wattis Institute. Monuments for the USA, featuring proposals by over 63 international artists. Shown at CCA Wattis Institute and toured to White Columns, NY. Irreducible: Contemporary Short Form Video, 1995-2005. CCA Wattis Institute and touring to Bronx Museum of Art; Miami Art Central. 2003 Co-curator/publication editor, Baja to Vancouver: The West Coast and Contemporary Art. First major museum survey of North America’s west coast. Presented at Seattle Art Museum, the San Diego MCA, the Vancouver Art Gallery, and the CCA Wattis Institute 2000 The Greenhouse Effect, co-curator. Presented at Serpentine Gallery and the Natural History Museum, London. 1997 Scene of the Crime, a survey exhibition tracing the development of a “forensic aesthetic” from the 1960s to the present. Armand Hammer Museum, Los Angeles. PUBLICATIONS & CRITICISM In addition to writing catalog essays for all of the above exhibitions, I have contributed principal essays to books and catalogs on artists such as David Hammons, Mike Kelley, Paul McCarthy, Luc Tuymans, Andreas Gursky, Jean-Luc Mylayne, Raymond Pettibon, and Jason Rhoades and have contributed essays on curating and cultural criticism to a number of anthologies. From 1985-2002, I wrote art and cultural criticism for numerous periodicals, publishing widely in art magazines as well as newspapers, including Artforum, Artpresse, FlashArt, frieze, The Financial Times, The Los Angeles Times, The LA Weekly, Parkett, and Grand Street. In 1996, Circus Americanus, a collection of my essays, was published by Verso. AWARDS, ADVISORY POSITIONS, BOARD & COMMITTEE MEMBERSHIPS 2016 ‘Illuminated River’ Jury member, Rothschild Foundation 2013 Tate Gallery Turner Prize Selection Committee 2012 Advisory Board, Kiev Biennale 2009-15 Chair of London Visual Arts Strategy Group 2010 British Council Selection Committee for Venice Biennale Pavilion 2008-10 Steering committee member for Art Fund International, a £5 million initiative to assist regional UK galleries in acquiring international art Jury member, Paul Hamlyn Foundation Arts Prize 2005-08 Board of the Louis Comfort Tiffany Foundation 2006-08 Founding Director, Curatorial Studies Program, CCA, San Francisco 2005 Awarded $100,000 Penny McCall Foundation prize for curating and criticism. Curatorial adviser to the 2005 Turin Triennial 2002 Curatorial Adviser to 2002 Sydney Biennale EDUCATION 1980 B.A. in Semiotics, Brown University, Rhode Island .
Load more

Recommended publications
  • Research Report 2012
    IWM RESEARCH REPORT 2012 Contents 1. Introduction 3 2. Fellowships, Collaborative Doctoral Awards and PhDs, and successful research funding bids 4 2.1 Fellowships 4 2.2 Collaborative Doctoral Awards, supported PhDs and commissioned research 4 2.3 Successful research funding bids 6 3. Publications 7 3.1 Publications by IWM staff 7 3.2 Media Involvement by IWM staff 9 3.3 Expert Assistance by IWM staff 11 4. Conferences, lectures, talks and other significant representation 14 4.1 Seminar series and conferences etc arranged by IWM 14 4.2 Individual representation 16 2 1. Introduction Efforts to build IWM’s reputation as a research organisation continued apace in 2012, with several promising developments. The start of the year saw the beginning of the first IWM project to be wholly funded by a grant from AHRC, following IWM’s achievement of Independent Research Organisation (IRO) status. Whose Remembrance? was a scoping study which set out to investigate levels of awareness of the experiences of the peoples of Britain’s former empire in the two world wars. Its scope and achievements are detailed in the section on ‘successful funding bids’ below. Led by the Research Department, the project – funded under the Connected Communities scheme – addressed a particularly pressing issue and produced lively and engaging workshops during the summer of 2012. The year saw continued effort on Research across IWM. Staff generated over 20 publications and gave presentations at more than 50 workshops, conferences and symposia during the year, in addition to providing advice, expertise and media appearances across a wide range of subjects.
    [Show full text]
  • SOUTH BANK GUIDE One Blackfriars
    SOUTH BANK GUIDE One Blackfriars The South Bank has seen a revolution over the past 04/ THE HEART OF decade, culturally, artistically and architecturally. THE SOUTH BANK Pop up restaurants, food markets, festivals, art 08/ installations and music events have transformed UNIQUE the area, and its reputation as one of London’s LIFESTYLE most popular destinations is now unshakeable. 22/ CULTURAL Some of the capital’s most desirable restaurants and LANDSCAPE bars are found here, such as Hixter, Sea Containers 34/ and the diverse offering of The Shard. Culture has FRESH always had a place here, ever since the establishment PERSPECTIVES of the Festival Hall in 1951. Since then, it has been 44/ NEW joined by global champions of arts and theatre such HORIZONS as the Tate Modern, the National Theatre and the BFI. Arts and culture continues to flourish, and global businesses flock to establish themselves amongst such inspiring neighbours. Influential Blue Chips, global professional and financial services giants and major international media brands have chosen to call this unique business hub home. With world-class cultural and lifestyle opportunities available, the South Bank is also seeing the dawn of some stunning new residential developments. These ground-breaking schemes such as One Blackfriars bring an entirely new level of living to one of the world’s most desirable locations. COMPUTER ENHANCED IMAGE OF ONE BLACKFRIARS IS INDICATIVE ONLY 1 THE HEART OF THE SOUTH BANK THE SHARD CANARY WHARF 30 ST MARY AXE STREET ONE BLACKFRIARS TOWER BRIDGE
    [Show full text]
  • Bridget Riley: Painting and Perception
    Bridget Riley: Painting and Perception Saturday 18 January 2020, 1pm - 5.30pm Bridget Riley: Painting and Perception Hayward Gallery’s major Bridget brings together a wide range Riley retrospective, which was of speakers and practitioners developed in close collaboration for a series of talks and panel with the artist herself, and in discussions designed to unpack partnership with National Galleries Bridget Riley’s innovative painting of Scotland. Spanning 70 years of practice and explore the ideas and Riley’s work, the exhibition offers themes that recur throughout this visitors an unparalleled opportunity artist’s formidable body of work. to experience powerful and This event has been programmed engaging works by one of the most in connection with the important artists of our time. Schedule 1pm Introduction from Cliff Lauson 1.10pm Talk: Richard Shiff Richard Shiff discusses the special kind of perception that Bridget Riley’s art provokes. He proposes that Riley’s art represents a distinct kind of ‘composition’, distancing it from the work of previous generations of painters. 2pm Panel Discussion: Colour and Perception In response to Bridget Riley’s ongoing investigation into colour interactions and visual perception, Kassia St Clair, Philip Ball, Liz West and Sophie Oxenbridge contemplate our relationship to colour and the act of looking. 2.45pm Q&A 3pm Break 3.30pm Talk: Éric de Chassey Éric de Chassey explores the apparent paradox that lies at the core of Bridget Riley’s art: in order to solicit personal and subjective responses from her viewers, she creates work in an impersonal and objective manner. 4.20pm Panel Discussion: Curating and Commissioning Lucy Askew, Daniel F.
    [Show full text]
  • Appendix 1: Temporary (Special) Exhibitions, 1912–1983 Peter J.T
    Appendix 1: Temporary (Special) Exhibitions, 1912–1983 Peter J.T. Morris and Eduard von Fischer The year given is the year the exhibition opened; it may have continued into the following calendar year. The main source before 1939 is Appendix I of E.E.B. Mackintosh, ‘Special Exhibitions at the Science Museum’ (SMD, Z 108/4), which has been followed even when the exhibitions do not appear in the Sceince Museum Annual Reports, supplemented by the list in Follett, The Rise of the Science Museum, pp. 122–3. Otherwise the exhibitions have been taken from the Annual Reports. 1912 History of Aeronautics 1914 Gyrostatics 1914 Science in Warfare First World War 1919 Aeronautics James Watt Centenary 1923 Typewriters 1924 Geophysical and Surveying Instruments Kelvin Centenary Centenary of the Introduction of Portland Cement 1925 Stockton and Darlington Railway Centenary Centenary of Faraday’s Discovery of Benzine [sic] Wheatstone Apparatus Seismology and Seismographs 1926 Adhesives Board, DSIR Centenary of Matthew Murray Fiftieth Anniversary of the Invention of the Telephone 1927 British Woollen and Worsted Research Association British Non-Ferrous Metals Research Association Solar Eclipse Phenomena Newton Bi-centenary 1928 George III Collection of Scientific Apparatus Cartography of the Empire Modern Surveying and Cartographical Instruments Weighing Photography 317 318 Peter J.T. Morris and Eduard von Fischer 1929 British Cast Iron Research Association Newcomen Bicentenary Historical Apparatus of the Royal Institution Centenary of the Locomotive Trials
    [Show full text]
  • Press Release Hayward Gallery Welcomes a Series of New Outdoor
    Press Release Date: Tuesday 06 July Contact: [email protected] Images: downloadable HERE This press release is available in a variety of accessible formats. Please email [email protected] Hayward Gallery welcomes a series of new outdoor commissions in partnership with the Bagri Foundation Credits (from left): Hayward Gallery exterior © Pete Woodhead; Hayward Gallery Billboard showing Salman Toor’s Music Room © Rob Harris; Jeppe Hein's Appearing Rooms outside Queen Elizabeth Hall. A three-year partnership, announced today, between the Hayward Gallery and the Bagri Foundation will brinG a series of new outdoor art commissions to the Southbank Centre. Aimed at providinG artists from or inspired by Asia and its diaspora with the opportunity to create a prominent public commission, this new initiative is the latest addition to a growing programme of outdoor art installations and exhibitions across the Southbank Centre’s iconic site. The BaGri Foundation commission, launchinG next month, will take place every summer until 2023. Founded with roots in education, the Bagri Foundation is dedicated to realising artistic interpretations and ideas that weave traditional Asian culture with contemporary thinkinG. This mission underpins the three-year partnership between the Foundation and the Hayward Gallery, brinGinG new artistic encounters to the General public. Each year, an artist will be commissioned to produce a site-specific work that invites visitors to London’s Southbank Centre to experience contemporary art in a unique and unexpected space beyond the gallery. The first commission launches in AuGust 2021 with a larGe-scale installation by collective Slavs and Tatars. With a focus devoted to an area East of the former Berlin Wall and West of the Great Wall of China known as Eurasia, Slavs and Tatars’ practice questions understandings of language, ritual and identity through a blend of pop aesthetics, cultural traditions and overlooked histories.
    [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]
  • Is Proud to Announce That the Turner Medal 2015 Will Be Awarded to the Kinetic-Optic Artist Carlos Cruz-Diez
    The Colour Group (Great Britain) is proud to announce that the Turner Medal 2015 will be awarded to the Kinetic-Optic artist Carlos Cruz-Diez Since 1941, stemming from the Physical Society, The Colour Group’s mission is to promote the study of colour and to assist the dissemination of colour knowledge in all its aspects. Every two years, alternating with the Newton Medal rewarding scientific contributions, the Colour Group presents the Turner Medal to a distinguished artist in recognition of their outstanding contribution towards understanding colour in the Visual arts. This year, the Colour Group is honoured to present the Tuner Medal to Carlos Cruz-Diez. Carlos Cruz-Diez (Caracas, 1923) Franco-Venezuelan artist Carlos Cruz-Diez has lived and worked in Paris since 1960. He is one of the great figures of kinetic-optic art. He is a contemporary theorist of color whose artistic proposal is based on four chromatic conditions: subtractive, additive, inductive and reflected condition. His research has brought art a new way of understanding the phenomenon of colour, greatly expanding its perceptual universe. Cruz-Diez’s work revolves around color conceived as an autonomous reality, devoid of anecdotes, Carlos Cruz-Diez with his Physichromie 500 at the exhibition “Radical progressing in space and real time without past or Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection”, Royal Academy of Arts, London, 2014 future, in the perpetual present. In his works the colour appears as a reality that can exist without the help of form and even stand unaided. Carlos Cruz-Diez’s work is present in many permanent collections including the Tate Modern, London; the University of Essex; Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Museum of Fine Arts, Houston and Wallraf-Richartz Museum, Cologne, Germany.
    [Show full text]
  • Dance & Museums Working Together Symposium Report
    Dance & Museums Working Together Symposium Symposium Report - Content, Analysis & Recommendations January 2015 Author: Emma McFarland, Consultant, eMc arts E: [email protected] arts eMc TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE Contents Section 1 : About the Symposium 4 Introduction 4 1. Overview 5 Section 2 : Symposium Content 7 2. Presentations & Case Studies 7 3. Feedback from Discussion Groups 14 4. Enquiry Groups 4.1 Topic 1 – Schools & the Curriculum 14 4.2 Topic 2 – Responding Creatively to Objects 16 4.3 Topic 3 – Audience Engagement and Response 20 4.4 Topic 4 – Dance as Object – Live Curation and Archiving 23 5. Panel Q & A 25 Section 3 : Rationale for Dance and Museums Working Together 28 6. Opportunities and Benefits of Museum – Dance Collaboration 6.1 New and innovative ways of interpreting objects / artefacts, collections 28 and exhibitions 6.2 Developing new audiences / visitors 28 6.3 Collaboration as a way of informing the development of dance performance 29 6.4 Providing rich, new artistic stimuli 29 6.5 Encouraging reflections on dance’s own history 30 6.6 Offers new approaches to museum learning and participatory work 30 6.7 Organisational benefits 30 Section 4 : Considerations around Museums – Dance Collaboration 31 7. Potential Issues and Challenges of Museums – Dance Collaboration 7.1 Need for deeply rooted partnerships 31 7.2 The need for trust....and risk 31 7.3 The role of the artist 32 7.4 Purpose, priorities and planning 33 7.5 Audiences and visitors 33 7.6 Practical considerations 34 7.7 Evaluation of ‘pop-up’ dance activity in museums 34 Section 5 : Where Next? 36 8.
    [Show full text]
  • A Cultural Cornucopia
    A CULTURAL CORNUCOPIA THE FIFTH FORM POST-GCSE PROGRAMME MONDAY 24TH – THURSDAY 27TH JUNE 2019 1 ESSENTIAL INFORMATION A CULTURAL CORNUCOPIA • Informal but tidy clothes throughout, In Greek mythology including Monday the baby Zeus was • Footwear suitable for walking protected in a cave • Bring mobile phone and/or tablets for by Amaltheia, the taking pictures and using brochure nourishing nanny goat • Bring backpack or carrier bag for packed goddess who fed him lunches with her milk. Zeus was so strong that in • Waterproofs if forecast bad playing with his nursemaid he broke off one • Remember inhalers, epipens etc of her horns which then had the divine power • Bring spending money – we provide to provide unending nourishment. The horn packed lunches, an energy bar on return became known as the Cornucopia or Horn of journey and water. You may want to Plenty. supplement this • Groups 1 and 7 may be allowed to swim All these cultural offerings are themselves a on beaches where lifeguards are present cornucopia and I am inviting you to feed on so bring swimming gear them and to be nourished. You won’t like everything you see or hear but try to respond CONTACT DETAILS to it with an entirely open mind, holding back all preconceptions. Group 1 – Mob 2 07876 831214 Group 2 – JNJ 07870 560302 (MONDAY) I see this as a shared experience for all the Mob 5 07720 089607 (WEDNESDAY) year group after the stress and strain of Group 3 – Mob 5 07720 089607 (MONDAY) GCSE. In preparing the trips I feel as if I am JNJ 07870 560302 (WEDNESDAY) somehow experiencing all these varied cultural Group 4 – PAJ 07972078148 offerings.
    [Show full text]
  • Hayward Gallery Appoints Dr. ​Zoé Whitley As Senior Curator
    Hayward Gallery appoints Dr. Zoé Whitley as Senior ​ Curator (Image credit: Southbank Centre and Takis Zontiros) ​ ​ Dr. Zoé Whitley has been appointed Senior Curator, Hayward Gallery at Southbank Centre. Whitley ​ ​ ​ ​ ​ will assume the position on 8 April 2019 working alongside current Senior Curator Cliff Lauson and under Hayward Gallery Director Ralph Rugoff, on the gallery’s dynamic programme of work that showcases the world’s most adventurous and innovative artists. Whitley joins from Tate Modern ​ ​ where she held the position of Curator, International Art from April 2017 and 2019 will see Whitley th ​ curate the British Pavilion presentation of Cathy Wilkes at the 58 ​ Venice Biennale. ​ Whitley studied at University of Central Lancashire where she obtained her PhD supervised by artist Professor Lubaina Himid. Whitley’s recent exhibitions include ARTIST ROOMS: Jenny Holzer (July ​ ​ ​ 2018 – July 2019) at Tate Modern and co-curating the acclaimed Tate exhibition Soul of a Nation (12 ​ ​ July – 22 October 2017). Prior to joining Tate in 2013, she was curator at the V&A (2003-2013) and ​ has previously organised exhibitions at the Studio Museum in Harlem, New York (2013-2014) and for the Johannesburg Art Fair in 2017. In 2018 she was named by leading international art magazine, ​ Apollo as one to watch in it’s ‘40 Under 40’ and among London's most influential people in the Evening Standard’s ‘Progress 1000’. During her career to date she has written a number of highly regarded publications including The ​ Graphic World of Paul Peter Piech (Four Corners Books) and co-authored museum catalogues including In Black and White: Prints from Africa and the Diaspora (V&A, with Gill Saunders); The ​ ​ Shadows Took Shape (Studio Museum in Harlem, with Naima Keith); and Soul of a Nation: Art in the ​ Age of Black Power (Tate, with Mark Godfrey).
    [Show full text]
  • Bridget Riley Born 1931 in London
    This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts
    [Show full text]
  • About Hayward Gallery Touring Hayward
    About Hayward Gallery Touring Hayward Gallery Touring organises contemporary art exhibitions that tour to galleries, museums and other publicly funded venues throughout Britain. In collaboration with artists, independent curators, writers and partner institutions, Hayward Gallery Touring develops imaginative exhibitions that are seen by up to half a million people in over 45 cities and towns each year. About The Southbank Centre The Southbank Centre is the UK’s largest arts centre and one of the UK's top five visitor attractions, occupying a prominent riverside location that sits in the midst of London’s most vibrant cultural quarter on the South Bank of the Thames. We exist to present great cultural experiences that bring people together and we achieve this by providing the space for artists to create and present their best work and by creating a place where as many people as possible can come together to experience bold, unusual and eye-opening work. We want to take people out of the everyday, every day. The site has an extraordinary creative and architectural history stretching back to the 1951 Festival of Britain. The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and Hayward Gallery as well as being home to the National Poetry Library and the Arts Council Collection. It is also home to four Resident Orchestras (London Philharmonic Orchestra, Philharmonia Orchestra, London Sinfonietta and Orchestra of the Age of Enlightenment) and four Associate Orchestras (Aurora Orchestra, BBC Concert Orchestra, Chineke! Orchestra and National Youth Orchestra of Great Britain). About The Box, Plymouth The Box is a major new cultural and heritage attraction which opened in Plymouth’s city centre in September 2020.
    [Show full text]