Calum Colvin's Ossian Project and the Tropes of Scottish Photography
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'The Neo-Avant-Garde in Modern Scottish Art, And
‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object. -
Macdonald Tartans
I AND THffi ico LIBRARY eOlTION P CDINBURCH^ffiNDON THE SCOTTISH CLANS AND THEIR TARTANS WITH NOTES 'Nowhere beats the heart so kindly As beneath the tartan plaid." AYTOUN. LIBRARY EDITION W. & A. K. JOHNSTON, LIMITED EDINBURGH AND LONDON 42 THE CLAN OF MACDONALD War Cry:-"t-'raocb Eilean" ("The Heathery Isle"). Badge : Fraoch (Common Heath). [Pali the clans, that of the MacDonalds is by every rule of antiquity, power, and numbers fully entitled to be spoken of before any other," says Robertson. "Their founder was named in Gaelic Somhairle, and by the Norsemen Somerled, both words having the same meaning, namely Samuel. This hero, for such he undoubtedly was did more to free his countrymen from the rule of the Danes and Norwegians than any other, and in consequence attained to a power greater than has fallen to the lot of a subject of present Scotland. His origin, as stated by Gregory, seems to be clearly Pictish. His father's name was Gillebrede, a very common Pictish name." It signifies the followers of St. Bride or Bridget. Ronald MacDonald Glas of Keppoch fought at Blairleine in 1544, and was after- wards captured by Huntly, and warded as a traitor in the Castle of Ruthven, and was beheaded, together with Ewen, eon of Allan, Captain of the Clan Cameron. The Braelochaoer MacDonalds were always called of Keppoch. His chief, Ronald Oig of Keppoch, when the tide of battle had turned against the great Marquis had often to seek shelter in a cavern in Rannoch. It was MacUonald of Keppoch who, proudly disdaining to hold by a sheepskin the lands of Glen- roy, in 1687 asserted by the sword his right against Macintosh, who had obtained a crown charter of the disputed territory, vanquished and took him prisoner in a desperate conflict, and compelled him to renounce his acquired claim. -
The Magazine of the Glasgow School of Art Issue 1
Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson. -
Bonnie Prince Charlie and the Jacobites Teacher & Adult Helper
Bonnie Prince Charlie and the Jacobites Teacher & Adult Helper Notes Contents 1 Visiting the Exhibition 2 The Exhibition 3 Answers to the Trail Page 1 – Family Tree Page 2 – 1689 (James VII and II) Page 3 – 1708 (James VIII and III) Page 4 – 1745 (Bonnie Prince Charlie) 4 After your visit 5 Additional Resources National Museums Scotland Scottish Charity, No. SC011130 illustrations © Jenny Proudfoot www.jennyproudfoot.co.uk Bonnie Prince Charlie and the Jacobites Teacher & Adult Helper Notes 1 Introduction Explore the real story of Prince Charles Edward Stuart, better known as Bonnie Prince Charlie, and the rise and fall of the Jacobites. Step into the world of the Royal House of Stuart, one dynasty divided into two courts by religion, politics and war, each fighting for the throne of thethree kingdoms of Scotland, England and Ireland. Discover how four Jacobite kings became pawns in a much wider European political game. And follow the Jacobites’ fight to regain their lost kingdoms through five challenges to the throne, the last ending in crushing defeat at the Battle of Culloden and Bonnie Prince Charlie’s escape to the Isle of Skye and onwards to Europe. The schools trail will help your class explore the exhibition and the Jacobite story through three key players: James VII and II, James VIII and III and Bonnie Prince Charlie. 1. Visiting the Exhibition (Please share this information with your adult helpers) Page Character Year Exhibition sections Important information 1 N/A N/A The Stuart Dynasty and the Union of the Crowns • Food and drink is not permitted 2 James VII 1688 Dynasty restored, Dynasty • Photography is not allowed and II divided, A court in exile • When completing the trail, ensure pupils use a pencil 3 James VIII 1708- The challenges of James VIII and III 1715 and III, All roads lead to Rome • You will enter and exit via different doors. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
Professor Dr. Horst W. Drescher, Lothar Görke, Professor Dr
2 Scottish Studies Newsletter, No. 40, Autumn 2012 Editors: Professor Dr. Horst W. Drescher, Lothar Görke, Professor Dr. Klaus Peter Müller, Ronald Walker Table of contents Editorial 3 New Scottish Poetry 4 Miriam Schröder, 65 Years of Passion for Literature – 5 The Scottish Universities' International Summer School Hanne Wiesner, My Edinburgh Experience: 6 English Courses at the University of Edinburgh Dominik J. Strauß, The Boy Who Trapped the Sun: 8 Talented Singer / Songwriter from the Outer Hebrides David S. Forsyth, Transforming a Victorian Vision: 9 Recreating the National Museum of Scotland for the Twenty-First Century (part 2) (New) Media on Scotland 11 Education Scotland 20 Scottish Award Winners 23 The Editors, Miriam Schröder, Ilka Schwittlinsky & Hanne Wiesner, 25 New Publications May – October 2012 Book Reviews Amy Blakeway on The Scottish Middle March, 1573 - 1625; 37 Steve Gardham on The Ballad Repertoire of Anna Gordon; 40 Klaus Peter Müller on Social Justice and Social Policy in Scotland 43 Conference Report (Ron Walker on 'Crime Scotland', Göttingen 2012) 54 Conference Announcements 57 Scottish Studies Newsletter 40, November 2012 3 Editorial Dear Subscriber / Reader, The SNP has now got another two years left to convince the Scots that independence would be better for them than what they have at the moment. This will not be easy. Human beings generally prefer to stay where they are and what they are, especially when they are not sure that a radical change will really bring improvements. And not only Ian Rankin thinks that Scots basically abhor change. Sociologists, economists, many people working in the social services, investigating social policy, and the social, economic, and political situation in Scot- land, however, claim that there is an urgent need for radical changes. -
A Tour Through Scotland
M2 . f • • &¥ be &J L~a- nA-cr_ g hgRiw'd &E&m*= it? $- .8 1#-5 -- ./ ~7~ • M33 ;)() LO A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph C \ By Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007" A Thesis Project Presented to Ryerson University. the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment for the degree of Masters of Arts . In the program of . Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Danielle McAllister PRDPERTYOF RYERSON UNIVERSITY UBRARl ±brSS Author's Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research. ,. - I --I I Danielle McAllister , I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or ~ individuals for the purpose of scholarly research. ii §k 1 I Abstract I i Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the I nineteenth and early twentieth centuries. Photographic publishing firms such as I G.W. Wilson & Co. -
STEPHEN LAWSON SELECTED SOLO ... -.: JHB Gallery
STEPHEN LAWSON SELECTED SOLO EXHIBITIONS 2014 Stephen Lawson: Images of Time, Vero Beach Museum of Art, Vero Beach, FL 2011 Motion Pictures, Lumière Gallery, Atlanta, GA 2010 Golden Wind, Arts Monongahela, Morgantown, WV 2008 Time Scene, Gertrude Herbert Institute of Art, Augusta, GA 2006 Stephen Lawson, Alderson Broaddus College, Philippi, WV 2004 Color, Time, Space; Photographs by Stephen Lawson, University of Rhode Island, Kingston, RI 2003 A Concept of Time, Southeast Museum of Photography, Daytona Beach, FL The Light of Day, Kathleen Ewing Gallery, Washington, DC Ex Tempore, Washington County Arts Council Gallery, Hagerstown, MD 2002 Stephen Lawson: Photographing Time, National Photography Collection, Edinburgh, Scotland Stephen Lawson, Verne Riffe Center for the Arts, Shawnee State University, Portsmouth, OH 1999 Daylight Artefacts, Allegheny College, Meadsville, PA 1998 Time Taken, Museum of York County, Rock Hill, SC 1996 Sand Through the Glass, Sunrise Museum, Charleston, WV Step in Time, Garo, Morgantown, WV 1995 Dimensional Photography, pARTs Gallery, Minneapolis, MN 1993 Change by Degrees, Stifel Fine Arts Center, Wheeling, WV 1992 Time Passages, Kathleen Ewing Gallery, Washington, DC 1991 Under Changing Skies, Schile Museum of Natural History, Gastonia, NC Rendered Time, Garo, Morgantown, WV 1990 Forms in Light, Talbot Rice Gallery, Edinburgh, Scotland. Tour: Aberdeen, Inverness, Ayr, Scotland; Hull, England; Weert and Middleburgh, Netherlands 1987 Positions, Impressions Gallery of Photography, York, England 1986 Stephen Lawson, The Photographers Gallery, London, England Stephen Lawson - Photography, Richard Demarco Gallery, Edinburgh, Scotland 1983 393902N 8000401W, Anton Gallery, Washington, DC 1982 Work in the Landscape, Alexander Mackie College, Sydney, Australia 1981 Work in the Landscape, Brown University, Providence, RI 1975 LaserWork, Ohio State University Fine Arts Gallery, Columbus, OH 1974 Stephen Lawson - Sculpture, Louis K. -
Annual Review 2017–18 National Galleries of Scotland Annual Review
Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh. -
A Tour Through Scotland: a Finding Aid of Scottish Tavel Photography
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2010 A Tour Through Scotland: A Finding Aid of Scottish Tavel Photography at the Archival & Special Collections, University of Guelph Danielle McAllister Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation McAllister, Danielle, "A Tour Through Scotland: A Finding Aid of Scottish Tavel Photography at the Archival & Special Collections, University of Guelph" (2010). Theses and dissertations. Paper 1336. This Thesis Project is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph By Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007 A Thesis Project Presented to Ryerson University, the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment for the degree of Masters of Arts In the program of Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Danielle McAllister Author’s Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research. ____________________________________________________________ Danielle McAllister I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. -
Scottish Photographers Notes Spring 2005
Scottish Photographers Notes Spring 2005 For Scottish Photographers Spring 2005 Welcome to a new edition of Scottish Photographers' Notes. the last exhibition' by Lightworks. So there you have it - it is def- New year. New format. But the more things change the more initely maybe the end of photography. On a serious note we things stay the same for there are hints in the pages which fol- hope that it is not the end of Lightworks which has made a valu- low suggest that Scottish photography is in good shape, some- able contribution to photography in Scotland. A thoroughly pro- thing that should be trumpeted from the rooftops. fessional though somewhat exclusive group, their exhibitions were always a delight even if they rarely strayed from the tradi- Scottish Photographers is a forum for those who use photogra- tional art of fine printing. Thank you Lightworks and don't go phy for their own pleasure rather as a means of persuading oth- away! ers of their expertise. It is loosely organised with no constitution, clubrooms or regular meetings, simply trying to promote con- As for artWORK - we would urge you to refrain from sensation- tacts between photographers without entering into cliques or al headlines! The death of photography, like the death of paint- coteries. A group for those who don't like joining groups. A crazy ing, has been greatly exaggerated. 'Digital' is not the end of the idea of course. Like a Society for the Abolition of Bad Weather. affair but only the start of the latest way of making photographs. -
Newsletter 08-11
Newsletter No 37 Autumn 2011 at Glasgow School of Art, where he first studied in From the Chair the Department of Painting and Drawing in the 1990s. He has subsequently had a sustained interest I’m happy to report that after the notable dip in our in the 20 th and 21 st century American and European membership figures following the recession, our art. His research interests lie in the relationship numbers are begin to grow again, and I’d like to between aesthetic theory and modern and extend a special welcome to all our new members. contemporary art, and in particular the tropes of the However we still have a way to go before we reach avant-garde in aesthetic politics. He is currently our previous heights again, so please do keep writing a book on the work of the American artist spreading the word and encouraging new members Vito Acconci. He has been active in the past year to join. This year we’ve tried hard to increase the presenting recent research, at both the First European number and variety of events on offer, and I’m Conference on Aesthetics at the Prado Museum, Madrid writing this fresh from a very enjoyable (if somewhat and the French Theory: reception in the visual arts in the damp!) tour of Jupiter Artland, which will be United States between 1965 and 1995 conference at reviewed next issue. Our forthcoming visit to Wiels in Brussels. Wilhelmina Barns-Graham’s house at Balmungo was booked up almost immediately and we’re very grateful to Helen Scott for arranging a second tour SSAH Research Grants later the same day, which is also now fully booked.