Summer Exhibition 2017 Main Galleries 13 June – 20 August 2017
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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
CV New 2020 Caronpenney (CRAFTSCOUNCIL)
Caron Penney Profile Caron Penney is a master tapestry weaver, who studied at Middlesex University and has worked in textile production for over twenty-five years. Penney creates and exhibits her own artist led tapestries for exhibition and teaches at numerous locations across the UK. Penney is also an artisanal weaver and she has manufactured the work of artists from Tracey Emin to Martin Creed. Employment DATES October 2013 - Present POSITION Freelance Sole Trader BUSINESS NAME Atelier Weftfaced CLIENTS Martin Creed, Gillian Ayres, Hauser & Wirth Gallery, Campaign for Wool, Simon Martin & Pallant House Gallery TYPE OF BUSINESS Manufacture of Tapestry DATES 2016, 2017 & 2018 POSITION Special Lecturer EMPLOYER Central Saint Martins, University of Arts London LEVEL BA Hons Textile Design TYPE OF BUSINESS Education DATES January 2014 - July 2015 POSITION Consultant EMPLOYER West Dean Tapestry Studio, W. Sussex, PO18 0QU CLIENTS Basil Beattie, Hayes Gallery, Craft Study Centre for ‘Artists Meets their Makers’ exhibition, Pallant House. TYPE OF BUSINESS Manufacture of Tapestry DATES December 2009 - October 2013 POSITION Director EMPLOYER West Dean Tapestry Studio, W. Sussex, PO18 0QU RESPONSIBILITIES The main duties included directing a team of weavers, while creating commissions, curating exhibitions, developing new innovations, assisting with fundraising, and creating a conservation and archiving procedure for the department. CLIENTS Tracey Emin, White Cube Gallery, Martin Creed, Hauser & Wirth Gallery, Historic Scotland. TYPE OF BUSINESS Manufacture of Textiles/Tapestry DATES 2000 - Present POSITION Short Course Tutor EMPLOYERS Fashion and Textiles Museum, Ashmolean Museum, Morley College, Hauser & Wirth Somerset, Ditchling Museum , Fleming Collection, Charleston Farmhouse, West Dean College, William Morris Gallery, and many others. -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
Sturm Und Drang : JONAS BURGERT at BLAIN SOUTHERN GALLERY DAFYDD JONES : JONAS BURGERT at JONAS BURGERT I BERLIN
FREE 16 HOT & COOL ART : JONAS BURGERT AT BLAIN SOUTHERN GALLERY : JONAS BURGERT AT Sturm und Drang DAFYDD JONES JONAS BURGERT I BERLIN STATE 11 www.state-media.com 1 THE ARCHERS OF LIGHT 8 JAN - 12 FEB 2015 ALBERTO BIASI | WALDEMAR CORDEIRO | CARLOS CRUZ-DÍEZ | ALMIR MAVIGNIER FRANÇOIS MORELLET | TURI SIMETI | LUIS TOMASELLO | NANDA VIGO Luis Tomasello (b. 1915 La Plata, Argentina - d. 2014 Paris, France) Atmosphère chromoplastique N.1016, 2012, Acrylic on wood, 50 x 50 x 7 cm, 19 5/8 x 19 5/8 x 2 3/4 inches THE MAYOR GALLERY FORTHCOMING: 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ CAREL VISSER, 18 FEB - 10 APR 2015 TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 [email protected] www.mayorgallery.com JAN_AD(STATE).indd 1 03/12/2014 10:44 WiderbergAd.State3.awk.indd 1 09/12/2014 13:19 rosenfeld porcini 6th febraury - 21st march 2015 Ali BAnisAdr 11 February – 21 March 2015 4 Hanover Square London, W1S 1BP Monday – Friday: 10.00 – 18.00 Saturday: 10.00 – 17.0 0 www.blainsouthern.com +44 (0)207 493 4492 >> DIARY NOTES COVER IMAGE ALL THE FUN OF THE FAIR IT IS A FACT that the creeping stereotyped by the Wall Street hedge-fund supremo or Dafydd Jones dominance of the art fair in media tycoon, is time-poor and no scholar of art history Jonas Burgert, 2014 the business of trading art and outside of auction records. The art fair is essentially a Photographed at Blain|Southern artists is becoming a hot issue. -
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. -
Fundraiser Catalogue As a Pdf Click Here
RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to -
Patrick Painter, Inc
PATRICK PAINTER, INC Glenn Brown Born 1966, Northumberland, England Lives and works in London Education 1992 Goldsmiths’ College, London 1988 Bath College of Higher Education 1985 Norwich School of Art, Foundation Course Solo Exhibitions 2006 Galerie Max Hetzler, Berlin, Germany 2005 Patrick Painter Inc., Santa Monica, CA 2004 Serpentine Gallery, London, England Gagosian Gallery, New York, New York 2002 Galerie Max Hetzler, Berlin, Germany 2001 Patrick Painter Inc., Santa Monica, California Künstlerverein Malkasten, Düsseldorf, Germany 2000 Domaine de Kerguéhennec, Centre d’art Contemporain, Bignan, Franc Galerie Max Hetzler Berlin, Germany Patrick Painter Inc., Santa Monica, California Jerwood Space, London, England Galerie Ghislaine Hussenot, Paris, France 1996 Queen’s Hall Arts Centre, Hexham, England 1995 Karsten Schubert Gallery, London, England Group Exhibitions 2005 Translations, Thomas Dane, London, England Ecstasy: In and About Altered States, Museum of Contemporary Art, Los Angeles, California Strata: Difference and Repetition, Fondazione Davide Halevim, Milan, Italy 2003 La Biennale di Venezia: Delays and Revolutions, Padiglione Italia, Giardini della Biennale, Venice, Italy 2002 Sao Paulo Bienal: Iconografias Metropolitanas, Oscar Niemeyer Bulding, 1 PATRICK PAINTER, INC Pavilhao Ciccillio Matarazzo, Parque Ibirapuera Melodrama, Artium, Centro-Museo Vasco de Arte Contemporaneo, Spain and Palacio de los Condes de Gabia, Granada Biennale of Sydney 2002: (The World May Be) Fantastic, Museum of Contemporary Art Sydney and Art Gallery -
Annual Report 2019/2020 Contents II President’S Foreword
Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices 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 Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic. -
Prunella-Clough-Cv.-2021.Pdf
Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] Prunella Clough ( 1919-1999 ) Forthcoming Exhibitions 2021 Prunella Clough & Alan Reynolds, Annely Juda Fine Art, London Solo Exhibitions 2019-20 Prunella Clough: A Centenary, Pallant House Gallery, Chichester, UK 2019 Prunella Clough: Blast, P.P.O.W, New York, USA 2017 Annely Juda Fine Art, London 2016 Prunella Clough: Unknown Countries, Jerwood Gallery, Hastings 2015 Prunella Clough, Unconsidered Wasteland:Osborne Samuel, London 2012 Austin Desmond Fine Art, London Annely Juda Fine Art, London 2011 Annely Juda Fine Art, London 2008 Annely Juda Fine Art, London 2007-08 Tate Britain, London: touring to Norwich Castle Museum & Art Gallery, Norwich; Abbot Hall Art Gallery, Kendal 2003 Annely Juda Fine Art, London 2000 Annely Juda Fine Art, London 1999-2001 University of Essex, Colchester. Arts Council exhibition touring to Peter Muni Arts Centre, Pontypridd; Glynn Vivien Art Gallery, Swansea; Peter Scott Gallery, Lancaster; Ropewalk Contemporary Art and Craft Centre, Barton upon Humber; Plymouth City Museum and Art Gallery, Plymouth; Ruthin Gallery, Buckley Library Gallery and Heritage Centre, Buckley; Denbigh Museum and Art Gallery, Denbigh; Gainsborough's House, Sudbury Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] 1999 Kettle's Yard, Cambridge: travelling to Graves Art Gallery, -
GAC Annual Report and Acquisitions List 2003-2004
Department for Culture, Media and Sport Government Art Collection Government Art Collection Annual Report and Acquisitions 2003-2004 Government Art Collection Annual Report and Acquisitions 2003-2004 2 Contents Page 3 Foreword - Julia Somerville, Chairman, Advisory Committee on the Government Art Collection 4 Introductory Report – Penny Johnson, Director 9 Acquisitions 2003-2004 15 Annex 1 – List of works lent to public exhibitions between 1 April 2003 and 31 March 2004 18 Annex 2 – List of long-term loans outside Government Government Art Collection Annual Report and Acquisitions 2003-2004 3 Foreword I have to confess that before becoming Chairman of its Advisory Committee, I knew of the existence of the Government Art Collection (GAC) but had no proper idea of its sheer size, richness and unique role in promoting Britain’s art, history and culture. Our offices are a world away from the formality of Whitehall, tucked down a tiny side road off one of London’s busiest shopping streets. Here Ambassadors, Ministers and senior civil servants come to select the works for display in their offices, under the eagle eye and expert guidance of our Director, Penny Johnson, and her team. We’re proud of the fact that at any one time some 80% of the Collection is out on display. For the general public though, the opportunities for seeing works from the Collection usually occur if they happen to visit a Government building, spot one of our works on loan to a temporary exhibition, visit our website, or take a guided tour of our premises as part of London’s Open House. -
Unlike Most Other Artists, Particularly Those Involved in the Performing Arts Home’ in a Way I Never Had Before
Unlike most other artists, particularly those involved in the performing arts home’ in a way I never had before. I discovered that to be an artist was to – dancers, musicians, actors, and film-makers – visual artists rarely work as become part of a community of people engaged through their individual part of an ensemble or where individuals combine their different skills and work in a passionate and on-going debate about art. Amongst my fellow roles to produce a single common work. students were Richard Serra, Chuck Close, and Brice Marden. My whole sense of myself as an artist was established at Yale. When I came to Britain Although there are a number of examples today of pairs of artists in 1966 I felt immediately welcome because the community of artists does working as a single creative unit – e.g. Gilbert and George, Fischli and Weiss, Jake and Dinos Chapman, Webster and Noble – and many artists work with assistants, sometimes teams of assistants – the defining characteristic of contemporary art is that of the individual vision defined through an individually developed and recognisable visual language. At a crucial level visual artists work alone. Their work must define and confirm the difference between their vision and that of other artists. Yet, in my experience, of all the arts, none has a more highly developed and pervasive sense of community than the visual arts. Few romantic ideas about art are more misguided than that of the isolated genius. In general the engagement with other artists begins in art school. Ideally an art school creates an intense experience of competitive discourse and common purpose amongst its students as well as between the students and their teachers, and through them, with the wider art world beyond the school, the world of exhibitions, galleries, publications, museums, etc. -
Contemporary Art Society
pantone 137 pantone 5195 CAS gratefully acknowledges the generous support of: We promote the collecting of Contemporary contemporary art through our gifts to public museums Art and the advice and guidance we offer Society companies and individuals Contemporary Art Society annual report 1999/2000 design giant arc design 01273 325067 pantone 137 pantone 5195 patron Her Majesty Queen Elizabeth The Queen Mother vice-patrons Bryan Ferry Caryl Hubbard Pauline Vogelpoel Mann The Lord McAlpine of West Green The Lord and Lady Sainsbury of Preston Candover The Lady Vaizey The Viscount and Viscountess Windsor artist patrons Sir Anthony Caro, OM Bridget Riley, CH committee members Oliver Prenn Chairman Jim Moyes Vice Chairman until October 1999 Pesh Framjee Honorary Treasurer Mark Stephens Honorary Solicitor Lance Blackstone Honorary Secretary Jolyon Barker Wendy Baron Janice Blackburn Rupert Gavin until September 1999 Robert Hopper until December 1999 Sean Rainbird Ann Stanton Babs Thomson director Gill Hedley projects director Cat Newton-Groves projects manager Lara Sampson collections curator Mary Doyle registrar Brendan Caylor until December 1999 office manager Paula Hollings from March 2000 events/membership manager Kate Steel assistant collections curator Jessica Wallwork ARTfutures selector Jeni Walwin contents ... Contemporary Art Society annual report 1999/2000 I chairman’s report 2 II director’s report 3 III members’ events 1999/2000 7 IV projects’ report 11 V museums’ report 13 VI buyers’ report 21 VII Nancy Balfour collection exhibition 23 VIII member museums 24 IX statement of financial accounting 26 X about Contemporary Art Society 28 Contemporary Art Society I chairman’s report When Gill Hedley sent me a draft of Finally, I was greatly encouraged by her comprehensive review of our the number of new buyers at activities I told her that she had left me ARTfutures.