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Museums & Art Galleries Survival Strategies
museums & art galleries survival strategies A guide for reducing operating costs and improving sustainability museums & art galleries Survival Strategies sur vival Contents strategies A guide for reducing operating costs and improving sustainability including Foreword 2 A five-step plan for institutions plus 205 initiatives to help get you Introduction 3 started Museums, Galleries and Energy Benefits of Change Survival strategies for museums & art galleries 4 Legislation Environmental Control and Collections Care Standards Five simple steps – A survival strategy for your institution 9 Step #1 Determine your baseline and appropriate level of refurbishment 10 Step #2 Review your building maintenance, housekeeping and energy purchasing 14 Sustainability makes good sense for museums. Step #3 Establish your targets and goals 18 A sustainable business is one that will survive and Step #4 Select your optimal upgrade initiatives 22 continue to benefit society. Vanessa Trevelyan, 2010 President of Museums Association Head of Norfolk Museums & Archaeology Service Step #5 Make your survival strategy happen 50 Further information 54 Renaissance in the Regions Environmental Sustainability Initiatives 58 Acknowledgements and Contacts 60 Cover © Scott Frances 1 Foreword Introduction The UK sustainable development strategy The Green Museums programme in the Our Green Museums programme has Museums, Galleries and Benefits of Change “aims to enable all people throughout the North West is part of a nationwide fabric focussed on empowering members of staff world to satisfy their basic needs and enjoy of initiatives and projects developed and at all levels to bring about organisational Energy Improving energy efficiency and acting Meet the needs a better quality of life without compromising supported through Renaissance in the change. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
“Museum Visionary” by Smithsonian Magazine, a Silicon Valley
Nina Simon Nina Simon has been called a “museum visionary” by Smithsonian Magazine, a Silicon Valley Business Journal “40 under 40,” and Santa Cruz County Woman of the Year for her innovative community leadership. She is the Executive Director of the Santa Cruz Museum of Art & History and the founder/CEO of the OF/BY/FOR ALL movement. Nina is the best-selling author of The Participatory Museum (2010), The Art of Relevance (2016) and the popular Museum 2.0 blog. She lives off the grid in the Santa Cruz mountains with 20 people, 24 chickens, 5 dogs, and 1 zipline. Esme Ward Esme Ward was appointed Director of the Manchester Museum, the UK’s largest university museum, in April 2018 and is the first woman to hold the role in its 125-year history. Prior to this, she was Head of Learning and Engagement at Manchester Museum and the Whitworth, where she worked alongside Maria Balshaw on the £15 million redevelopment of the Whitworth. She is leading a significant capital development at Manchester Museum, renewing the creative and civic mission of the organisation with the ambition to become the most inclusive, imaginative and caring museum. In 2016/17 she was a fellow on the Clore Cultural Leadership Programme, exploring social and civic purpose, leadership and the future of museums. Her career has been driven by these values and a longstanding commitment to make museums more inclusive and relevant to the communities they serve. In 2018 Esme was awarded Honorary Professor of Heritage Futures from the University of Manchester. Esme is also the Culture Strategic Lead for Age Friendly Manchester and the Greater Manchester Ageing Hub, which heavily influences her work at the museum, ensuring culture in the city is accessible to all generations. -
Report About the Project Director: Factory Manchester and Structural
Manchester City Council Item 7 Personnel Committee 2 March 2016 Manchester City Council Report for Resolution Report to Personnel Committee - 2 March 2016 Subject: Project Director: Factory Manchester and structural changes in Strategic Development Report of: Chief Executive ___________________________________________________________________ Purpose This report seeks to establish a new fixed term role of Project Director for Factory Manchester for a period of up to 4 years to cover the period between June 2016 and January 2020. Recommendations: The Personnel Committee is recommended to: 1. Approve the creation of a position of Project Director for Factory Manchester at a salary of up to £140,000 for a period of up to 4 years and make a recommendation to Council on the remuneration for the post in line with the Council’s Pay Policy. 2. To appoint a subcommittee of four members to act as the appointment panel for the appointment of this position, with a quorum of three of the members for a meeting of the subcommittee. 3. To appoint a member as the Chair of the subcommittee. 4. To co-opt onto the subcommittee, as a non-voting member, a nominee of the Arts Council England so they may attend meetings of the subcommittee and be present during the consideration of any confidential business. 5. To delegate authority to the Deputy Chief Executive (Growth and Neighbourhoods), in consultation with the Chair of the subcommittee, to progress all aspects of the recruitment of the Project Director: Factory Manchester up to the point where a meeting of the appointment panel is necessary. 6. Approve an amendment to structural reporting lines for the Strategic Director (Strategic Development) and the structural position of the City Centre Growth and Regeneration team. -
2010 Breakthrough Fund Funding for Exceptional Cultural Entrepreneurs
2010 Breakthrough Fund Funding for exceptional cultural entrepreneurs Maria Balshaw – Whitworth Art Gallery Stewart Laing – Untitled Projects Matt Peacock – Streetwise Opera Simon Pearce – The Invisible Dot Ltd Gavin Wade – Eastside Projects The Breakthrough Fund A successful arts economy requires not only great artists, but also Nominations process talented and visionary people who can enable these artists to make The Breakthrough Fund identified potential applicants through a process of great things happen. Paul Hamlyn Foundation set up the Breakthrough confidential nominations, asking a range of nominators to help spot talent Fund, over an initial period of three years, to support exceptional and share their intelligence across regions and art forms. Whilst art form and cultural entrepreneurs. This year sees the third and final funding round regional spread are not criteria for support, we believe that a balance has of the initiative as it was originally devised. PHF will now evaluate the emerged over the three years of the Fund. programme and start to assess its impact, with a view to reviewing This year, 15 nominators were chosen for their expertise and experience. findings in 2011/12 – and sharing them as widely as possible. They gave their personal recommendations without the nominees’ Cultural entrepreneurs may appear in a range of roles and with various titles – knowledge. Over 40 nominees were put forward and invited to enter the producers, artistic or executive directors, curators, chief executives – but they application process. each possess a pressing and persuasive vision, a drive and a strong track Paul Hamlyn Foundation gratefully acknowledges the invaluable contribution record of making things happen. -
Volunteering for Wellbeing Final Report 2013 – 2016 Social Return
Inspiring Futures: Volunteering for Wellbeing Final Report 2013 – 2016 Social Return on Investment A Heritage Lottery Fund Project delivered by IWM North and Manchester Museum 2013 - 2016 In partnership with Museum of Science and Industry, People’s History Museum, National Trust: Dunham Massey, Manchester City Galleries, Ordsall Hall, Manchester Jewish Museum, Whitworth Art Gallery, National Football Museum If | Volunteering for Wellbeing | About IWM North and Manchester Museum IWM North IWM North has established itself as a key cultural player in the North. The museum is a learning experience where imaginative exhibitions, programmes and projects are combined to promote public understanding of the causes, course and consequence of war and conflict involving the UK and Commonwealth since 1900. Manchester Museum Manchester Museum is dedicated to inspiring visitors of all ages to learn about the natural world and human cultures, past and present. Tracing its roots as far back as 1821, the museum has grown to become one of the UK’s great regional museums and its largest university museum. Inspiring Futures: Volunteering for Wellbeing Final Report 2013 – 2016 Social Return on Investment If | Volunteering for Wellbeing | Final Report 2013 – 2016 | Social Return on Investment CONTENTSContents About IWM North and Manchester Museum 03 Introduction by lead partners 05 Executive Summary 06 The Report Section 1 | Evaluation, aims and objectives 11 Section 2 | How if works - process inputs 16 Section 3 | What was achieved - Longitudinal outcomes 23 -
News Release Embargoed Until 5Pm on Wednesday 11 October 2017
News release Embargoed until 5pm on Wednesday 11 October 2017 Alistair Hudson appointed as new Director for Manchester Art Gallery and The University of Manchester’s Whitworth The University of Manchester and Manchester City Council have today announced that Alistair Hudson, currently Director of the Middlesbrough Institute of Modern Art (mima), will be the new Director of Manchester Art Gallery and the Whitworth. Alistair will take up his role in the New Year. He succeeds Maria Balshaw at the Whitworth and Manchester Art Gallery following her appointment as Director of Tate earlier this year. He brings with him a wealth of experience at the forefront of the culture sector and a strong record of championing art as a tool for social change and education. During the last three years as Director at mima, he set out the institution’s vision as a ‘Useful Museum’, successfully engaging its local communities and responding to the town’s industrial heritage, as well as placing it amongst the most prestigious galleries in the UK. Alistair began his career at the Anthony d’Offay Gallery, London (1994-2000), before joining The Government Art Collection (2000-04) where, as Projects Curator, he devised a public art strategy for the new Home Office building with Liam Gillick. As Deputy Director of Grizedale Arts (2004-14) in the Lake District, he helped the institution gain critical acclaim for its radical approaches to working with artists and communities, based on the idea that art should be useful and not just an object of contemplation. Outside of these roles he is also Chair of Culture Forum North, an open network of partnerships between Higher Education and the cultural sector across the North and co-director of the Asociación de Arte Útil with Tania Bruguera. -
Maria Balshaw: Tate’S First Female Director
ALUMNI MARIA BALSHAW: TATE’S FIRST FEMALE DIRECTOR INSIDE YOUR 2019 EDITION: ❱ A new concert hall for Liverpool ❱ The engineers of the future ❱ A bastion of digital tech ❱ CONTENTS 04 News Vice-Chancellor Professor Dame ALUMNI Janet Beer introduces a round-up 20 of campus news The most powerful 10 Class of 2018 woman in Welcoming more than 10,000 new British art graduates to the Class of 2018 How Liverpool shaped the path of Maria Balshaw 12 Making the law F Ecestiniti soluptate quod es voluptae. Offi ctis Harum quos CBE towards directorship 16 endignam facea qui blautIt’s es been maximin 125 years ullores since tibusam, the Liverpool comnia of the Tate galleries Navigating uncharteddollaccus exerunt. Law School was established. We and museums territory take a look at some of its greatest Three young entrepreneurs tell us achievements about their businesses, their Seismic events are by no motivations and how the Universitymeans feasibly19 predicted, IntoUniversity but n this issue we catch up with graduate Maria Balshaw helped them along the way Alumni volunteers have given their about her journey from Liverpool to the Tate; making steps towardstime to support such and enhancean the celebrate the 50th anniversary of the fi rst crossing of objective is imperativeexperiences of our students – here’s I how you can do the same the surface of the Arctic Ocean in which alumnus Dr Ken Hedges participated; and learn more about the new Digital Innovation Facility coming to Liverpool. 28 Class notes Thank you for all your feedback on last year’s magazine. What happened to your classmates Please do let us know what you think of this year’s edition. -
Gaskell Society Newsletters Index of Authors and Subjects
GASKELL SOCIETY NEWSLETTERS INDEX OF AUTHORS AND SUBJECTS. Aber. Pen y Bryn. Lindsay, Jean. Elizabeth and William’s Honeymoon in Aber, September 1832. [illus.] No.25 March 1998. Adlington Hall, Cheshire. Yarrow, Philip J. The Gaskell Society’s outing – 8 October 1989. No.9 March 1990. Alfrick Court, Worcestershire, [home of Marianne Holland]. Alston, Jean. Gaskell study tour to Worcester, Bromyard and surrounding areas-20 to 22 May 2014. [illus.] No.58. Autumn 2014. Allan, Janet. The Gaskells’ bequests. No.32. Autumn 2001. The Gaskells’ shawls. No.33. Spring 2002. Allan, Robin. Elizabeth Gaskell and Rome. No.55. Spring 2013. Alps. Lingard, Christine. Primitive, cheap and bracing: the Gaskells in the Alps. No.58. Autumn 2014. Alston, Jean. Gaskell-Nightingale tour, 30 May 2012. No.54. Autumn 2012. Gaskell study tour to Worcester, Bromyard and surrounding areas-20 to 22 May 2014. No.58. Autumn 2014. Marianne and her family in Worcestershire. No.59. Spring 2015. Tour in Scottish Lowlands, 7-11 July 2008. [illus.] No.46. Autumn 2008. Una Box, who died 14 November 2010, aged 71 years, [obituary]. No.51. Spring 2011. Visit to Ashbourne, Alstonefield and the Hope House Costume Museum, [Derbyshire]. 5th July 2006. No.42. Autumn 2006. Alstonefield, Derbyshire. Alston, Jean. Visit to Ashbourne, Alstonefield and the Hope House Costume Museum, 5th July 2006. No.42. Autumn 2006. American Civil War. Smith, Muriel. Elizabeth Gaskell and the American Civil War. No.36. Autumn 2003. Andreansky, Maria. Luce, Stella. Maria Andreansky 1910-2011 [obituary]. [illus.] No.53. Spring 2012. Anne Hathaway’s Cottage see Stratford-upon-Avon. -
Report on Art Galleries Bugdet to the Art
Manchester City Council Item 5 Art Galleries Committee 17 February 2016 Manchester City Council Report for Resolution Report to: Art Galleries Committee – 17 February 2016 Subject: Manchester City Galleries’ report and revenue budget 2016/17 Report of: Director of Manchester City Galleries and City Treasurer Summary This report details Manchester City Galleries’ performance during 2015/16, outlines how we plan to deliver our vision in 2016/17, and presents a draft revenue budget for 2016/17 for the approval of the Art Galleries Committee. Recommendations Members are recommended to: 1. Approve the contents of the report, including the draft gross budget for 2016/17 of £3.258m, with cash limit budget contribution from Manchester City Council of £2.065m. 2. Recommend the budget to Executive for approval as part of the Council’s budget setting process. 3. Delegate authority to the Chief Executive and City Treasurer to make any technical adjustments required to take account of the impact of changes in 2015/16 and 2016/17 budgets. Wards Affected: All Community Strategy Spine Summary of the contribution to the strategy Performance of the economy of This report sets out proposals for the delivery of a the region and sub region balanced budget for 2016/17. Reaching full potential in This service, along with all others in the education and employment directorate, aims to support individuals, families and communities achieve best outcomes. Individual and collective self Individual respect and community resilience is a esteem – mutual respect key theme within the Neighbourhood Focus Strategy to which City Galleries contribute. Neighbourhoods of Choice Creating sustainable neighbourhoods where people want to live, work and stay as they become more economically independent is key to Growth and Neighbourhoods’ budget strategy, towards which this budget contributes. -
Annual Seminar 2011 Speakers
5th Annual Seminar Tuesday 1 November 2011, 10.00 - 17.10 National Portrait Gallery, London Biographies of speakers and chairpersons Dr Maria Balshaw has been Director of the Whitworth Art Gallery since June 2006. She has coordinated a challenging programme of historic, modern and contemporary exhibitions that capitalise on the Whitworth’s university location as well as having a strong international profile. In 2011 she took on the role of Director of Manchester City Galleries alongside her duties at the Whitworth. This dual Directorship represents a unique partnership between the University of Manchester and Manchester City Council, bringing the two institutions and Manchester’s historic and modern art collections into complementary alliance for the first time in their history. Early career experience included working as Director of Development and External Relations at Arts Council: West Midlands and from 2002 – 2005 she was Director of Creative Partnerships: Birmingham. In 2004, Maria was selected as one of the inaugural Fellows for the Clore Cultural Leadership programme. Before moving into the cultural sector Maria worked as Research Fellow in Urban Culture at the University of Birmingham and as lecturer in Cultural Studies at University College Northampton. She published a number of books and essays on African-American urban culture, gender and visuality. Dr Rosalind Polly Blakesley is a Senior Lecturer in the History of Art and a Fellow of Pembroke College at the University of Cambridge. Her publications include Russian Art and the West (co-editor and contributor, 2007); The Arts and Crafts Movement (2006); An Imperial Collection: Women Artists from the State Hermitage Museum (co-editor and contributor, 2003); and Russian Genre Painting in the Nineteenth Century (under her maiden name of Rosalind P. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.