Contemporary Art Society Annual Report 1975
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City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
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Arts Council OF GREAT BRITAI N Value fir Money ;ES;VHH AND IN,'-ORMATiON L13PARY DO NOT REMOVE FROM OM THIS ROOM Thirty-second annual report and accounts year ended 31 March 1977 Thirty-second Annual Report and Accounts 197 7 ISBN 07287 0143 X Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1 V OA U Designed by Paul Sharp Printed in England by Shenval Pres s The montage on the cover illustrates the work of the Art s Council's specialist departments : Music : Page of vocal score of Sir William Walton 's Troilus and Cressida, showing revisions made by the composer for the 1976 production by the Royal Opera Art : Foy Nissen's Bombay by Howard Hodgkin Drama : The Olivier auditorium at the National Theatr e Literature : Some books and magazines published or subsidise d by the Council Contents Chairman 's Introduction 5 Secretary-General's Report 7 Regional Activities 15 Drama 1 6 Drama 1948-1977 (a personal commen t by N. V. Linklater) 20 Music 23 Visual Arts 26 Literature 30 Touring 3 1 Community Arts 32 Festivals 34 Housing the Arts 34 Training 35 Research and Information 36 Marketing 36 Scotland 37 Wales 41 Membership of Council and Staff 44 Council, Committees and Panels 45 Annual Accounts 53 The objects for which the Arts Council of Great Britai n is established by Royal Charter are : 1 To develop and .Improve the knowledge, understanding and practice of the arts ; 2 To increase the accessibility of the arts to the publi c throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
UNIVERSITY of LEEDS the LIBRARY Archives of the Queen Square and Park Square Galleries, Special Collections MS 712 Part I: Collective Exhibitions
Handlist 74 UNIVERSITY OF LEEDS THE LIBRARY Archives of the Queen Square and Park Square Galleries, Special Collections MS 712 Part I: Collective exhibitions Mrs Sarah Gilchrist opened her commercial gallery in Queen Square, Leeds, in 1964; the enterprise flourished and she moved it to new premises in Park Square, Leeds, in 1968. She retired in 1978 though the gallery has continued under different aegis. In 1981 she was awarded an honorary degree by the University of Leeds and in the summer of 1984 through the timely intervention of Mr Stephen Chaplin of the University's Department of Fine Art, she most kindly agreed to give the accumulated archive of her galleries up to the date of her retirement to the Brotherton Library. The archive illustrates the relationship between artist and gallery, and between gallery and collector; it also illuminates taste and patronage in Yorkshire in the third quarter of the 20th century. This first part of a complete catalogue refers to collective exhibitions; further parts will deal. with one-man exhibitions, a picture lending scheme and other matters. Each catalogue will have indexes of exhibitors and of correspondents. This handlist was formerly issued in four parts, as handlists 74, 76, 84 and 85 Compiled October 1985 Digitised May 2004 CATALOGUE 1. First collective exhibition, 'Five Australian painters', April-May 1964 Work by:- Charles Blackman, Arthur Boyd, Louis James, John Perceval and Kenneth Rowell. 1-39 Correspondence, 1964. 51 ff. 40 Invitation to private view, 15 April 1964. 41 Priced catalogue, 1964. 42-43 Two photographs of exhibits, [1964]. 44-45 Mounted press-cuttings, 1964. -
Contemporary Art Society Annual Report 1964-65
Contemporary Patron Art Society Her Majesty Queen Elizabeth the Queen Mother Tate Gallery Executive Committee Millbank Whitney Straight CBE MC DFC Chairman SW1 Anthony Lousada Vice-Chairman Peter Meyer Honorary Treasurer G L Conran Honorary Secretary Sir Colin Anderson Raymond Mortimer CBE Eardley Knollys Eric Newton CBE Sir John Rothenstein CBE Mrs Oliver Parker Dr Alistair Hunter Derek Hill Bryan Robertson OBE The Hon Michael Astor The Lord Croft 2 3 Alan Bowness Prunella Roger James Melvin Clough Cook Mrs Elizabeth Heygate The Hon John Sainsbury Dr Kenneth Marsh 5 6 Pauline Vogelpoel MBE Organising Secretary Allen Eduardo Jones Paolozzi 8 9 Victor Keith Vasarely Vaughan July 1965 most difficult exhibition we have ever attempted particularly in terms of organisation. We were greatly honoured that Her Royal Highness Princess Margaret was present at this occasion and more than seven hundred of our members > period from 23rd June, the date of our last Annual General Meeting, until today as far as and their guests. is you will know, our financial year ended on the 31 st December 1964. I would like to thank and congratulate Burton, Ahrends and Koralek, the architects who showed such imagination and lal practice we appoint two buyers each year. For the year ended December 1964 our originality in their installation of this fine exhibition, also the many people who so kindly helped us, in particular enstein and Dr Kenneth Marsh. They spent the allotted sum of £4,500 and bought thirty- the Pieter Stuyvesant Foundation whose most generous grant of £2,000 made the whole thing possible. -
Generation Painting 1955–65
Generation PaintinG 1955–65 British Art from the Collection of Sir Alan Bowness the heonG Gallery Alan Bowness Ten Good Years This collection of paintings was assembled in unusual circumstances and needs some explanation, which involves the beginnings of my inter- est in contemporary art. In the last years of the war, the great art museums were of course closed, but my interest in painting was suddenly brought to life by the amazing Picasso and Matisse exhibition at the Victoria and Albert Museum at the end of 1945. I was 17 and wanted to see more. I quickly discovered that the most advanced British art was to be found in the dealers’ galler- ies around Bond Street, particularly the Lefevre, Redfern and Leicester Galleries. Here were works by Henry Moore and Graham Sutherland, Paul Nash, John Piper, Ivon Hitchens, Victor Pasmore – artists popularised by Kenneth Clark’s series of Penguin Modern Painters books, which I owned. I loved these artists and thought highly of the British school – it must be remembered that almost no twentieth-century foreign art was on view in 1946 – but I also wanted to fnd the newest painting. This was being done by the ‘neo-romantics’: John Minton and Keith Vaughan, John Craxton, Lucian Freud and the two Roberts (Colquhoun and MacBryde). When I left school in the summer of 1946, I was awarded a prize for English and chose a 1945 edition of John Webster’s The Duchess of Malf with wonderful illustrations by Michael Ayrton. The youngest of the neo-romantics, Ayrton was only seven years older than me and felt like a contemporary. -
John Hoyland: the Making and Sustaining of a Career - 1960-82
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2015 JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 Davies, Christopher Anthony http://hdl.handle.net/10026.1/5139 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 By CHRISTOPHER ANTHONY DAVIES Volume 2: Images, Appendices and Bibliography June 2015 List of Illustrations Fig. 1 - John Hoyland, Situation painting 1, 1960. Oil on canvas. 183 x 168 cm. Collection: © The John Hoyland Estate. Fig. 2 - John Hoyland, April 1961, 1961. Oil on canvas. 152.5 x 152.7 cm. Collection: Tate Gallery London. Fig. 3 - Bridget Riley, Movement in Squares, 1961. Tempera on hardboard. 123.2 x 121.2 cm. Collection: Arts Council Collection. Fig. 4 - John Plumb, Edgehill, 1962. Acrylic paint, PVC, vinyl and tape on canvas. 180 x 122 x 5 cm. Collection: Tate Gallery London. Fig. 5 - Robyn Denny, Baby is Three, 1961. Household paint on canvas. 213 x 365 cm. Collection: Tate Gallery London Fig. 6 - Bernard Cohen, Painting 96, 1996. Oil on canvas. 244 x 366 cm. Collection: Walker Art Gallery, Liverpool Museums. Fig. 7 - Gillian Ayres, Distillation, 1957. -
288389725.Pdf
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository This item was submitted to Loughborough University as an MPhil thesis by the author and is made available in the Institutional Repository (https://dspace.lboro.ac.uk/) under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Loughborough University School of the Arts Richard Hamilton a “multi-elusive” artist of the modern world? By Andrew Kim Tyler - A379598 A Masters Thesis Submitted in partial fulfilment of the requirements for the award of Master of Philosophy of Loughborough University 2011 by Andrew Kim Tyler 2011 Volume I Thesis & Bibliography 1 Richard Hamilton a “multi-elusive“1 artist of the modern world? Richard Hamilton was born on the 24th February 1922, throughout his adult life he has been an artist, who has taught, who has made exhibitions, who has sought to engage with the most up to date technology, who has studied the theories and works of Marcel Duchamp and most importantly has accurately reflected the world in which he has lived. Hamilton has been broadly categorised throughout his career by two images, the small poster he designed for the This is Tomorrow2 exhibition and the spectre of Marcel Duchamp as the epitome of the avant-garde artist. The first secured the myth that Hamilton is the ‗founding father‘ of Pop Art and the second that Hamilton would provide, for many, a gateway to an understanding of Duchamp. -
Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London. -
John Hoyland
JOHN HOYLAND SELECTED CV Selected Solo Exhibitions 2015 John Hoyland : Power Stations (Paintings 1964–1982) Newport Street Gallery, London 2015 Charles Nodrum Gallery, Melbourne, Australia 2011 Beaux Arts, London 2010 Lemon St Gallery, Truro 2010 Beaux Arts, London 2010 Alan Wheatley Art, London 2009 Galerie White8, Vienna 2009 Sarah Myerscough Fine Art, London 2009 Nevill Keating Pictures, London 2009 Lemon Street Gallery, Truro 2008 Beaux Arts, London 2008 Gallery Aalders, La Garde Freinet, France 2007 Hillsboro Fine Art, Dublin, Ireland 2007 Michael Carr Gallery, Sydney, Australia 2007 Lemon Street Gallery, Truro, Cornwall 2007 Tate St Ives 2006 Beaux Arts, London 2005 Lemon Street Gallery, Truro, Cornwall 2003 Beaux Arts, London 2003 Nevill Keating Pictures, London 2003 Beaux Arts, London 2003 Galleri Christian Dam, Oslo, Norway 2001 Graves Art Gallery, Sheffield (Retrospective) 43 Denmark Hill London SE5 8RS | T: +44 (0)20 7703 8396 | W: www.gxgallery.com | T: @gxgallery 2001 University of Lethbridge, Alberta, Canada 2000 Galerie Josine Bokhoven, Amsterdam 2000 Royal Academy of Arts, London (Retrospective) 1999 Galerie Fine, London 1996 Carlow Arts Festival, Ireland 1995 Theo Waddington, London 1995 CCA Gallery London, ‘New Ceramics’ 1994 Annendale Gallery, Sydney, Australia 1994 Graham Modern Gallery, New York 1992 Galerie Josine Bokhoven, Amsterdam (drawings) 1991 Eva Cohon Gallery, Chicago 1991 Waddington Galleries, London 1990 Austin/Desmond Fine Art, London (prints) 1990 Edward Thorden Gallery, Gothenburg 1988 Erika Meyerovich -
Arts Council of GREAT BRITAIN the Colour and Black and White Photographs Were Taken by Jonathan 8Ayer with the Exception of Several in the Introductory Section
Frank Auerbach ArtsCouncil Anthony Caro OF GREAT BRITAIN Patrick Caulfield Terry Frost Patrick Heron Roger Hilton Ivon Hitchens Howard Hodgkin Peter Lanyon Ben Nicholson Tim Scott William Scott Matthew Smith Ian Stephenson William Tucker John Walker Gillian Ayres Basil Beattie Michael Bennett Frank Bowling Jeffrey Dellow Brian Fielding Clyde Hopkins Albert Irvin Richard James Patrick Jones John McLean Michael Moon Mali Morris Fred Pollock Geoff Rigden Terry Setch Paul Tonkin Anthony Whishaw Hayward Annual 1980 contemporary painting and sculpture selected by John Hoyland 29 August- 12 October 1980 Hayward Callery, London Arts Council OF GREAT BRITAIN The colour and black and white photographs were taken by Jonathan 8ayer with the exception of several in the introductory section. including Auerbach (Prudence Cuming); Caro (Carlos Granger); Lanyon (Courtauld Institute); Scott (John Webb); Walker (Rodney Wright-Watson) Photograph of8en Nicholson on cover by l3ill Brandt Lc11ders l3rowse &: Darby Gallery Kathleen Frost Mrs Sheila Lanyon Marlborough Fine Art (London) Ltd Rutland Gallery South West Arts The Rt Hon Lord and Lady Strauss Trustees of the Tate Gallery Waddington Galleries Ltd Williams&: Glyn 's Bank Limited and private collections Contents Artists in the introductory section .! Preface 30 29 Frank Auerbach · n introduction to the 3 Anthony Caro exhibition' by John Hoyland 331 Patrick Caulfield - · :\ Force against the Basilisk' 32 Terry Frost by Tim Hilton Patrick Heron 34 Roger Hilton I I dccced paintings in colour 36 37J 5 Ivon -
Images, Appendices and Bibliography
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2015 JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 Davies, Christopher Anthony http://hdl.handle.net/10026.1/5139 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 By CHRISTOPHER ANTHONY DAVIES Volume 2: Images, Appendices and Bibliography June 2015 List of Illustrations Fig. 1 - John Hoyland, Situation painting 1, 1960. Oil on canvas. 183 x 168 cm. Collection: © The John Hoyland Estate. Fig. 2 - John Hoyland, April 1961, 1961. Oil on canvas. 152.5 x 152.7 cm. Collection: Tate Gallery London. Fig. 3 - Bridget Riley, Movement in Squares, 1961. Tempera on hardboard. 123.2 x 121.2 cm. Collection: Arts Council Collection. Fig. 4 - John Plumb, Edgehill, 1962. Acrylic paint, PVC, vinyl and tape on canvas. 180 x 122 x 5 cm. Collection: Tate Gallery London. Fig. 5 - Robyn Denny, Baby is Three, 1961. Household paint on canvas. 213 x 365 cm. Collection: Tate Gallery London Fig. 6 - Bernard Cohen, Painting 96, 1996. Oil on canvas. 244 x 366 cm. Collection: Walker Art Gallery, Liverpool Museums. Fig. 7 - Gillian Ayres, Distillation, 1957.