100 Art Prints, Multiples, Books & Catalogues
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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. -
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. -
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CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. -
Accidental Genius
Accidental Genius Accidental Genius ART FROM THE ANTHONY PETULLO COLLECTION Margaret Andera Lisa Stone with an introduction by Jane Kallir Milwaukee Art Museum DelMonico Books Prestel MUNICH LONDON NEW YORK CONTENTS 19 FOREWORD Daniel T. Keegan 21 ACKNOWLEDGMENTS Margaret Andera 23 Art Brut and “Outsider” Art A Changing Landscape Jane Kallir 29 “It’s a picture already” The Anthony Petullo Collection Lisa Stone 45 PLATES 177 THE ANTHONY PETULLO COLLECTION 199 BIOGRAPHIES OF THE ARTISTS !" FOREWORD Daniel T. KeeganDirector, Milwaukee Art Museum The Milwaukee Art Museum is pleased to present Accidental Genius: the Roger Brown Study Collection at the School of the Art Institute Art from the Anthony Petullo Collection, an exhibition that celebrates of Chicago, for her insightful essay for this publication. the gift to the Museum of Anthony Petullo’s collection of modern A project of this magnitude would not have been possible self-taught art. Comprising more than three hundred artworks, the without generous financial support. The Milwaukee Art Museum collection is the most extensive grouping of its kind in any American wishes to thank the Anthony Petullo Foundation; Leslie Hindman, museum or in private hands. Thanks to this gift, the Milwaukee Art Inc.; the Einhorn Family Foundation; and Friends of Art, a support Museum’s holdings now encompass a broadly inclusive represen- group of the Museum, for sponsoring the exhibition. Tony Petullo tation of self-taught art as an international phenomenon. is a past president of Friends of Art, and he credits the group for Tony Petullo, a retired Milwaukee businessman, built his col- introducing him to collecting. -
Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone
Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone 25 October 2003 – 25 January 2004 Tate St Ives Notes for Teachers 1 Contents Page No. Introduction 3 Gallery 1 The Pier Arts Centre Collection 5 Upper Gallery 2 Richard Slee Panorama 7 Lower Gallery 2 Alan Davie Jingling Space 9 Studio Alan Davie 12 The Apse William Blake Collection Works 14 Gallery 3 Partou Zia Entering the 16 Visionary Zone Gallery 4 Alan Davie Artists on Artists 18 Gallery 5 Alan Davie Jingling Space 20 Café /Mall Alan Davie 22 Resources available at Tate St Ives 23 Further Reading 23 Appendix I Artists Biographies 25 Appendix II Pier Arts Centre Collection 27 Extracts from labels & captions Appendix III Glossary of Art Terms 30 Appendix IV Alan Davie The Artist’s Words 31 Appendix V Suggested Activities 33 2 Introduction This winter Tate St Ives presents Jingling Space an exhibition of the work of Scottish artist Alan Davie. The exhibition highlights aspects of his work from the 1930s to the present day and includes oil paintings, gouaches, drawings and prints. The exhibition offers fresh insight particularly in his relationship to European Surrealism. Also on display, Alan Davie Artists on Artists A group of paintings selected from the Tate Collection including Max Ernst, Paul Klee, Pablo Picasso, Henri Matisse, Joan Miró and Jackson Pollock. The Pier Arts Centre Collection An exhibition of works by St Ives artists including Barbara Hepworth, Ben Nicholson, Peter Lanyon, Terry Frost and Alfred Wallis. Partou Zia Entering the Visionary Zone A group of works selected from more than 40 paintings made by Partou Zia during her six- month residency at the Porthmeor Studios. -
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ARTS n jr. J .r . The Arts Council of Grea t Britain was formed in August 1946 to continue in peacetim e the work begun with Government support by th e Council for the Encouragement of Music and the Arts. The Arts Council operates under a revised Royal Charter granted in 1967 in which its objects are stated as : (a) to develop and improve th e knowledge, understanding an d practice of the arts ; (b)to increase the accessibilit y of the arts to the public throughout Great Britain ; (c) to advise and co-operat e with departments of government, local authoritie s and other bodies . The Arts Council, as a publicl y S3 accountable body, publishes a n ro annual report and accounts t o a n provide Parliament and th e general public with an overview e 3 Front coeari Ttra renovated AUmmbre of the year 's work . Theatre, Bradford . The ar" are rogeaerating Bradford as "the City of Er*00"lnnrenk an.ee"ns ►aurisre and bariaees. The rota of the arts as cololysts for urban rerrerrel 4 discussed In John Davison's or"* a s the Arts Council's urfaen Renaissance ro"WEl9e. Chairmen's iMroduelion 2 Lord flees-Mogg reflects on his seven years at the Arts Counci l Secretary-Genewl's report 4 Luke Rittner highlights the issue s and achievements of 19$1/8 8 Arts review b Departmental reports on policies which promoted the arts during 1487/88 Special reporfs Appraisals How the Arts Council appraises its 26 clients, and why. by Lynda Murdi n Nubian renaissance The role the 28 arts are playing in regenerating the inner cities . -
Portraiture Portraiture Senior Phase | Teacher’S Notes
SENIOR PHASE PORTRAITURE PORTRAITURE SENIOR PHASE | TEACHER’S NOTES creative thinking at aberdeen art gallery How to use the teacher’s notes Welcome. This pack has been put together by our experienced learning team to help In order to make these notes work for you, we have chosen artworks and activities that are age appropriate. you explore the building and the collection with your pupils. Every artwork tells a Primary is divided in to Lower and Upper and Secondary is story, giving an insight into a particular culture, society or time in history. Exploring divided in to Junior and Senior phase. the collection will encourage curiosity, imagination and problem solving. This resource provides you with suggested activities and background information on selected artworks. There are six themes that will direct you to at least three gallery spaces, but you can of course look at more artworks About Aberdeen Art Gallery Before your visit along the way. The opening of Aberdeen Art Gallery on 7 July 1885 You may want to begin with a picture of Aberdeen Art As these teacher’s notes will be available to download was made possible by financial contributions from local Gallery and ask your learners to set some questions about from our website, some images of the artworks are businessmen including granite and flour merchants, the gallery and what they might see there. copyright protected and cannot be included in the pack. art collectors and civic-minded individuals. The people This will help to de-mystify what an art gallery is, who who paid for this building also donated many of the Visit our website at www.aagm.co.uk to see images of it’s there for and hopefully have them looking forward older paintings that you see on display today. -
32 Years of Glasgow School of Art Exhibitions 1988 - Present Day
32 years of Glasgow School of Art Exhibitions 1988 - present day 1988 1. ‘Glasgow Girls: Women at the Art School 1880-1920’, 15 July – 31 Aug 1988, Mackintosh Museum. Curated by Jude Burkhauser. ‘...an exhibition showcasing the work of The Glasgow Girls held in The Mackintosh Museum at The Glasgow School of Art. The exhibition ran from the 15th of July to the 31st of August 1988 and was the precursor for a larger Glasgow Girls exhibition that would be shown two years later [at Kelvingrove Museum]. This particular exhibition was curated by Jude Burkhauser who went on to write a full PhD on The Glasgow Girls.’ GSA Archives catalogue entry GSAA/EPH/10/43. 1989 1. Soviet Season: Academic Tradition, 28 Oct-2 Dec 1989. Newbery Gallery. External curator: Galina Kargopolova. ‘Work from three leading Soviet Art Schools.’ 1990 1. Hannah Frew Paterson Embroidery Retrospective 1963-1990, 12 April – 5 May, Newbery gallery. GSA Archives: catalogue, poster. This show marked her retirement from GSA. 2. ‘V: Five Years of Photography in Fine Art at GSA 1985-1990’, 10-24 March 1990, Mackintosh Museum and Newbery Gallery. GSA Archives: poster and press release. 3. ‘Artwork from IBM’s UK locations’, 4 May – 2 June 1990, Mackintosh Museum. An exhibition curated by Clare Henry (includes Gilbert & George) 4. A series of Glasgow 1990 events. ‘Passing Out’, 24 Aug-15 Sept – an exhibition of UK silversmith & Jewellery depts. GSA Archives: catalogue. 5. ‘View from the inside’, exhibition of art from Scottish Prisons, 6 Oct – 3 Nov, Newbery Gallery 6. ‘Contemporary Visions’, exhibition of architects responding to Mackintosh architecture, 9-31 Aug 1990. -
Press Release 05 (MM) 23.05.21
! THE GALLERY OF EVERYTHING PRESENTS THE ART OF BRUT Dates: open from 22 May 2021 Press: Rebecca Ward +44 7977 071 450 // [email protected] Press Office +44 20 7957 5323 // [email protected] The Gallery of Everything 4 Chiltern Street London, W1 020 7486 8908 // [email protected] WWW.GALLEVERY.COM @GALLEVERY ! The Gallery of Everything re-opens on May 22nd with The Art of Brut. The Art of Brut is an installation of the alternative authors and makers examined, investigated, published, collected and exhibited by Jean Dubuffet and his contemporaries during the 1940s. Scheduled to coincide with Brutal Beauty - the Jean Dubuffet retrospective at the Barbican, The Art of Brut explores this legendary artist’s apparent discoveries in terms of their aesthetic, meaning and impact. *** The Art of Brut features over twenty art brut artists in depth, including: mediumistic painters Augustin Lesage and Fleury-Joseph Crépin; Swiss illustrators Aloïse Corbaz, Louis Soutter and Adolf Wölfli; and British creators Scottie Wilson and Madge Gill. Lesser-known names include: Antoine Rabany and the stone figures known as Les Barbus Müller; Pascale-Désir Maisonneuve and his extraordinary shell masks; satirical woodcarver and toymaker Auguste Forestier; and Juva, a Polish aristocrat and conceptual stone-age artist. The show also presents some of the trained artists feted by Dubuffet’s associate, Michel Tapié: Maurice Baskine, Pierre Giraud and Jan Křížek. These complement others who narrowly missed inclusion, such as African artist Albert Lubaki, presented alongside his wife Antoinette. *** The Art of Brut is an essential complement to an understanding of Jean Dubuffet’s life and work. -
Outsidein Catalogue Lores 03
1 Published on the occasion of the exhibition Outside In at Pallant House Gallery, Chichester 4 August–8 November 2009 First published in 2009 by Pallant House Gallery Pallant House Gallery 9 North Pallant Chichester West Sussex PO19 1TJ United Kingdom www.pallant.org.uk www.outsidein.org.uk Copyright © The Authors 2009 All images © The Artists © National Portrait Gallery, London: 6 Designed by David Wynn Set in Foundry Sterling All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the publisher and copyright owners. The catalogue contributors assert their moral rights to be identified as the authors of their texts. Cover Image Ashley Reaks, Colin Slames's 50th Birthday Party (detail), Collage, pen and ink Monitors kindly supplied by Headline Sponsor of the Year 2009 Surrey and East and West Sussex Museum Service 2 Outside In: A National Event by Stefan van Raay 3 'You don't need to be taught to create.' by Marc Steene 4 Scottie Wilson by Simon Martin 6 Step Up by Gillian Birtchnell 7 Catalogue of Works 29 Thank You 1 Outside In: A National Event Since the early twentieth century, the terms Art Brut or Outsider Art have been used to describe art produced at the edges of society. These artists have little or no contact with the institutions of the mainstream art world; they rarely receive any formal recognition and training despite producing art of a high quality that is both highly personal and idiosyncratic. Outside In is a groundbreaking project which was set up by Pallant House Gallery in 2006 and which invites debate on this overlooked subject. -
Edit Summer 2009
SUMMER 09 THE ALUMNI MAGAZINE INCLUDING BILLET & GENERAL COUNCIL PAPERS The Origin of Genius Charles Darwin’s Edinburgh connection ALSO INSIDE Edinburgh’s innovative teaching leads the way Edit meets the winners of the Principal’s Medal The University of Edinburgh Forever a part of it Your links with Edinburgh don’t end when you leave the University – you’re an Edinburgh alumnus for life – so stay in touch and reap the benefits! The Alumni Card What will it do for you? Have you got your new-look Alumni Card • Receive 15% off hire of University • Enjoy free access to the University’s yet? As an alumnus you are eligible for the venues, accommodation and catering many libraries and their printed new card, which replaces the Edinburgh for weddings, parties, meetings and, collections – as well as 50% off Passport and allows discounted access of course, reunions! borrowing rights. to many of the University’s outstanding • Enjoy a 25% discount at the • Receive a 20% discount on all books facilities. The card also entitles you to University’s Centre for Sports and published by Edinburgh University a new range of discounts with partner Exercise – one of the Scotsman’s Press. organisations worldwide. Sign up at top five gyms in Scotland – which Get discounted rates with our partners www.ed.ac.uk/alumni. • offers you a wealth of fitness in the hotel and leisure industry all over classes, training, gym support, the world. We will be adding to our list climbing facilities, a circuit gym, of partners on a regular basis, so make playing fields, an outdoor activity sure you visit www.ed.ac.uk/alumni centre on Loch Tay and much more! for the latest offers. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Shifting Focus of the Traditional Centres of Contemporary Art: Scotland’s Evolving Position from Periphery to Prominence Deborah Jackson Ph.D The University of Edinburgh 2013 "I hereby declare that I am the sole author of this thesis; that the following thesis is entirely my own work; and that no part of this thesis has been submitted for another degree or qualification". Signed ……………………………………………………………………………………… 2 Abstract My thesis considers the distinctive characteristics of contemporary artistic production and display in Scotland from the 1960s to the present. The main objective is to make manifest the diversification of global sites of contemporary art away from traditional centres by examining less exposed aspects of art practice in Scotland. My methodology is driven by a set of case studies of artist-run initiatives (ARIs), which provide models of enquiry into alternative methods of production and display of contemporary art and that demonstrate the role of ARIs in producing art scenes, and not merely representing those that already exist.