Rose Wylie CV
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Full Press Archive
Full Press Archive In conversation with Freddie Robins, Charlotte Cameron, Knitting Industry Creative, October 1, 2018, www.knittingindustry.com Cent digital magazine, Play SS18, By a Thread Liberties (review of Liberties at The Exchange, Penzance), Martin Holman, Art Monthly, Dec 16 – Jan 17 p.21-23 Making it OK (review of What do I need to do to make it OK?), Ian Wilson, Surface Design Journal, Fall 2016 Textiles of recovery and repair (review of What do I need to do to make it OK?), Jessica Hemmings, Crafts, no. 257 November/December 2015 Protest and production in song (review of Yan Tan Tethera), Liz Hoggard, Crafts, no. 250 September/October 2014 Out on a Limb, Charlotte Abrahams, Crafts, no. 242 May/June 2013 Not your average barn, Vinny Lee, The Times Magazine, 4 May 2013 The Art of Craft, Maya Dudok de Wit, Flamingo Magazine, The Future Craft Issue, 2013 Transformations (exhibition review), Catherine Dormor, Textile, volume 11, number 1, March 2013, pp. 94-101(8), Bloomsbury Journals Collage Showcase: Freddie Robins, Collage Magazine, issue 1, Oct 11 2012 http://issuu.com/magazinecollage/docs/issue_3_plan_pages How to make it in design, Ros Drinkwater, The Sunday Business Post, February 20 2011 Wool, Clay, Felt and Steel, Rosanna Durham, Oh Comely, issue three, Nov / Dec 2010 Little and Large, Size does Matter (review of Extraordinary Measures), Jessica Hemmings, Crafts, no. 225 July / August 2010 Extraordinary Measures (review), Laura Cumming, The Observer, Sunday 2 May 2010 Art Knits, Sarah Ditum, Vogue Knitting (US), Fall 2009 Knitting Art, Freddie Robins / Beatrijs Sterk, Textile Forum, 1/2008 15 Degrees: Freddie Robins, IdN (International designers Network), vol. -
Tate Report 08-09
Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements. -
Download Curriculum
CORNELIA PARKER 1956 Nace en Cheshire / Neix a Cheshire / Born in Cheshire 1974-1975 Gloucestershire College of Art & Design 1975-1978 Wolverhampton Polytechnic - B.A. Hons 1980-1982 Reading University - M.F.A. Vive y trabaja en Londres / Viu i treballa a Londres / Lives and works in London Exposiciones Indiviaduales (selección) / Exposicions individuals (sel·lecció) / Selected solo shows 2011 D’Amelio Terras, (front room) New York Thirty Pieces of Silver York St Mary’s, York (in association with Tate) 2010 Doubtful Sound, Baltic Centre for Contemporary Art, Gateshead D’Amelio Terras, (front room) New York No Mans Land, Two Rooms, Auckland, New Zealand (as part of International Artists Residency) 2009 Nocturne: A Moon Landing, Firework display and installation to open Jupiter Artland, Edinburgh 2008 *Guy Bartschi, Geneva *Carles Taché, Barcelona Never Endings Museo De Arte de Lima, Peru (Touring from IKON) Latent News Frith Street Gallery, London Chomskian Abstract, Whitechapel Laboratory, Whitechapel Gallery, London (touring: Ballroom Marfa, Texas; Galleria d’Arte Moderna Contemporanea, Bergamo: Fundacion PRO, Buenos Aires; Henie Onstad Kunstsenter, Oslo; The Institute for the Re-adjustment of Clocks, Istanbul; Kunsthaus, Zurich; Moderna Museet, Stockholm; The Ullens Centre for Contemporary Artm Beijing) 2007 * Never Endings IKON, Birmingham 2006 * Brontean Abstracts, Brontë Parsonage Museum, Haworth, West Yorkshire 2005 Focus: Cornelia Parker, The Modern Art Museum of Fort Worth, Fort Worth, Texas New Work by Cornelia Parker, Yerba Buena -
20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching Special Editions by Cornelia Parker & John Stezaker 2
20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching special editions by Cornelia Parker & John Stezaker 2 – 10 November 2018 To mark and celebrate twenty years of Ingrid Swenson’s tenure as director of PEER and her recent MBE Award for Services to the Arts in East London, artists Cornelia Parker and John Stezaker have very generously produced prints in limited editions of 50 each to support PEER’s programme, which will be launched to the public on 2 November. We are using this as an opportunity to highlight some of PEER’s achievements over the past two decades with a display of previous artists’ editions and publications from Mike Nelson, Fiona Banner, Anthony McCall, Kathy Prendergast, John Smith, Bridget Smith and many others. November marks twenty years to the month since Ingrid began working at PEER, which was then known as The Pier Trust. Over this period, Ingrid has developed a curatorial strategy that acknowledges how art can and should have a meaningful and powerful place in the lives of people across the whole spectrum of our diverse society. Ingrid’s work has been far-reaching nationally and internationally, but always rooted in an embrace of the community. Over these two decades, it has been a great privilege for PEER to have been able to work with more than 150 emerging, mid- career and established artists; ranging from the one-off event to more ambitious and complex commissions. To set us on our way towards the next twenty years, we are delighted that both Cornelia Parker and John Stezaker have so generously agreed to make limited edition prints to be sold to support our artistic and local programmes. -
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. -
Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today. -
The Midlands Essential Entertainment Guide
Staffordshire Cover - July.qxp_Mids Cover - August 23/06/2014 16:43 Page 1 STAFFORDSHIRE WHAT’S ON WHAT’S STAFFORDSHIRE THE MIDLANDS ESSENTIAL ENTERTAINMENT GUIDE STAFFORDSHIRE ISSUE 343 JULY 2014 JULY ’ Whatwww.whatsonlive.co.uk sOnISSUE 343 JULY 2014 ROBBIE WILLIAMS SWINGS INTO BRUM RHYS DARBY return of the Kiwi comedian PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART THE GRUFFALO journey through the deep dark wood in Stafford... FUSE FESTIVAL showcasing the region’s @WHATSONSTAFFS WWW.WHATSONLIVE.CO.UK @WHATSONSTAFFS talent at Beacon Park Antiques For Everyone (FP-July).qxp_Layout 1 23/06/2014 14:00 Page 1 Contents- Region two - July.qxp_Layout 1 23/06/2014 12:42 Page 1 June 2014 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Ellie Goulding Brian O’Faolain [email protected] joins line-up for 01743 281701 Wireless Festival p45 Lauren Foster [email protected] 01743 281707 Adrian Parker [email protected] 01743 281714 Sales & Marketing: Jon Cartwright [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 Subscriptions: Adrian Parker [email protected] 01743 281714 Scooby-Doo Managing Director: spooky things a-happening Paul Oliver [email protected] in Wolverhampton p27 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Chris Atherton Accounts Administrator Julia Perry Wicked - the award-winning musical -
KATIE PATERSON CV Born in Glasgow, Scotland, 1981
KATIE PATERSON CV Born in Glasgow, Scotland, 1981 Represented by Ingleby Gallery, Edinburgh / James Cohan, New York SOLO EXHIBITIONS AND COMMISSIONS 2014-2114 Future Library, Oslo, Norway, 100 year commission 2019 NOW: Katie Paterson, Scottish National Gallery of Modern Art, Edinburgh, UK, 2019, forthcoming A place that exists only in moonlight: Katie Paterson & JMW Turner, Turner Contemporary, Margate, UK First There is a Mountain, touring commission, 25 venues, UK, 2019 2017 SALT, Utah Museum of Modern Art, USA 2016 From Earth into a Black Hole, James Cohan, New York, USA Katie Paterson, Centre PasquArt, Biel, Switzerland Hollow, collaboration with Zeller & Moye for the University of Bristol, UK, permanent commission Totality, Somerset House, London, UK Syzygy, The Lowry, Salford, UK 2015 Le Champ du Ciel, Field of the Sky, FRAC Frache Comté, Besançon, France 2014 Ideas, Ingleby Gallery, Edinburgh, UK Earth-Moon-Earth, Jupiter Artland, Edinburgh, UK Eveningness, Kunstverein & Stiftung Springhornhof, Neuenkirchen, Germany Second Moon, Locus+, commission Campo del Cielo, Field of the Sky, collaboration with the European Space Agency 2013 In Another Time, Mead Gallery, Warwick Arts Centre, UK Katie Paterson, Kettle’s Yard, Cambridge, UK Katie Paterson, Selfridges, London, UK 2012 Inside this Desert, BAWAG Contemporary, Vienna, Austria 100 Billion Suns, Haunch of Venison, London, UK Campo del Cielo, Field of the Sky, Exhibition Road Show, London, UK, Olympics commission FOCUS: Katie Paterson, The Modern Art Museum of Fort Worth, Texas, USA -
Billy Childish Flowers, Nudes and Birch Trees: New Paintings 2015 September 10-October 31, 2015 536 West 22Nd Street, New York #Billychildish
Billy Childish flowers, nudes and birch trees: New Paintings 2015 September 10-October 31, 2015 536 West 22nd Street, New York #billychildish Opening Reception: Thursday, September 10, 6-8PM birch wood, 2015, oil and charcoal on linen, 72.05 x 108.07 inches, 183 x 274.5 cm. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. New York, August 11, 2015—Lehmann Maupin is pleased to present its fourth exhibition with British artist Billy Childish, a prolific painter, writer, and musician. The artist’s vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish’s work. The artist will be present for an opening reception at the gallery on Thursday, September 10 from 6-8PM. Working in traditional genres such as portraiture, still life, and landscape, Childish’s paintings are spiritually charged expressions that come from a place of deep personal meaning. These powerful works, including unabashed nudes, self-portraits, and dense woodland scenes, honor the simple nature of being and in the process transcend the ordinary. Eschewing any hint of post-modernist irony in his work, he allows the basics of personal expression to come forth through the fundamentals of painting. A self-proclaimed “Radical Traditionalist,” Childish has said, “The reason I honor tradition is that it provides a form and structure that allows freedom—the ego is subjugated and the requirements of the painting are met. Tradition is not to be worshipped or adored; it is a vehicle to take you to new places, or we could say to arrive at the perennial.” While he is occasionally associated with British groups like the Stuckists and YBAs, Childish does not see himself as connected to a particular contemporary movement; however, he is highly regarded and well known by his peers, including renowned artists Peter Doig and Tracey Emin. -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter -
Matthew Higgs
The Museum of Everything Exhibition #4 Conversation with Matthew Higgs Matthew Higgs b 1964 (Wakefield, England) Matthew Higgs is an artist, curator, writer and director of White Columns Gallery, New York. Former director of exhibitions at the ICA in London (1996/9) and a former curator at the Wattis Institute in San Francisco (2001/4), Higgs was a contributor and speaker at Exhibition #1 and has ex- hibited the work of Creative Growth artists Dan Miller (2011) and William Scott (2009), both featured in Exhibition #4. [START] MoE: Matthew, I wondered if we could talk a little about your involvement with self-taught art and in particular with the artists at Creative Growth. You have curated the work of Judith Scott, Dan Miller, William Scott and Aurie Ramirez, I wondered if you could articulate what it is you feel is important about these artists and what they mean in terms of our understanding of art? MH: When I first came across Creative Growth ten years ago, my limited understanding of self-taught, outsider artists and creativity in relation to disabilities, was naï ve at best. Encountering an organisation like Crea- tive Growth forced me to think about my own relationship with this work and with art in general. I had spent most of the 1990s teaching undergraduate and graduate level in art schools. What was interesting was just how different the atmosphere was at Creative Growth. Art was being made for reasons that remained out of reach. The emphasis in conventional art schools is a pressure to ex- plain, to defend one’s intellectual and aesthetic territories. -
An Analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 From the Academy to the Marketplace: An analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art Education Commons, Curriculum and Instruction Commons, and the Higher Education Commons From the Academy to the Marketplace: An Analysis of New York and London Fine Art Schools’ Responses to the Market in Pedagogy and Curricula By Adelaide Dunn A thesis submitted in conformity with the requirements for a Master of Arts in Art Business Sotheby’s Institute of Art, New York 2018 14,976 words Abstract As fine art degrees expand in cost and popularity, the need to educate students about the complex art market they are entering is more urgent now than ever before. But despite the globalizing art market’s continuing demand for emerging talent, its opaque and hypercompetitive nature generates significant obstacles for fine art graduates. This is exacerbated by the relative absence of practical business and legal skills implemented in fine art curricula across the U.S. and U.K. Statistical and anecdotal evidence highlighting the many entrepreneurial skills required to develop and sustain a professional practice, demonstrates the need for more comprehensive professional development syllabi to be implemented in fine art schools. This thesis takes as its main focus the art markets of New York and London, and assesses how fine art schools in these rapidly intensifying urban centers respond to their commercial environments.