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The First Major Exhibition of Stage Designs by Celebrated Cartoonist Gerald Scarfe
Gerald Scarfe: Stage and Screen At House of Illustration’s Main Gallery 22 September 2017 – 21 January 2018 The first major exhibition of stage designs by celebrated cartoonist Gerald Scarfe “I always want to bring my creations to life – to bring them off the page and give them flesh and blood, movement and drama.” – Gerald Scarfe "There is more to him than journalism... his elegantly grotesque, ferocious style remains instantly recognisable" – Evening Standard feature 20/09/17 Critics Choice – Financial Times 16/09/17 On 22 September 2017 House of Illustration opened the first major show of Gerald Scarfe’s striking production designs for theatre, rock, opera, ballet and film, many of which are being publicly exhibited for the very first time. Gerald Scarfe is the UK’s most celebrated political cartoonist; his 50-year-long career at The Sunday Times revealed an imagination that is acerbic, explosive and unmistakable. But less well known is Scarfe’s lifelong contribution to the performing arts and his hugely significant work beyond the page, designing some of the most high-profile productions of the last 30 years. This exhibition is the first to explore Scarfe’s extraordinary work for stage and screen. It features over 100 works including preliminary sketches, storyboards, set designs, photographs, ephemera and costumes from productions including Orpheus in the Underworld at English National Opera, The Nutcracker by English National Ballet and Los Angeles Opera’s The Magic Flute. It also shows his 1994 work as the only ever external Production Designer for Disney, for their feature film Hercules, as well as his concept, character and animation designs for Pink Floyd’s 1982 film adaptation of The Wall. -
Admiralty Arch, Commissioned
RAFAEL SERRANO Beyond Indulgence THE MAN WHO BOUGHT THE ARCH commissioned We produced a video of how the building will look once restored and by Edward VII in why we would be better than the other bidders. We explained how Admiralty Arch, memory of his mother, Queen Victoria, and designed by Sir Aston the new hotel will look within London and how it would compete Webb, is an architectural feat and one of the most iconic buildings against other iconic hotels in the capital. in London. Finally, we presented our record of accountability and track record. It is the gateway between Buckingham Palace and Trafalgar Square, but few of those driving through the arch come to appreciate its We assembled a team that has sterling experience and track record: harmony and elegance for the simple reason that they see very little Blair Associates Architecture, who have several landmark hotels in of it. Londoners also take it for granted to the extent that they simply London to their credit and Sir Robert McAlpine, as well as lighting, drive through without giving it further thought. design and security experts. We demonstrated we are able to put a lot of effort in the restoration of public spaces, in conservation and This is all set to change within the next two years and the man who sustainability. has taken on the challenge is financier-turned-developer Rafael I have learned two things from my investment banking days: Serrano. 1. The importance of team work. When JP Morgan was first founded When the UK coalition government resolved to introduce more they attracted the best talent available. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
Annual Review 2011 – 2012
AnnuA l Review 2011 – 2012 Dulwich Picture Gallery was established more than 200 years ago because its founders believed as many people as possible should see great paintings. Today we believe the same, because we know that art can change lives. I w hat makes us world-class is our exceptional collection of Old Master paintings. I england – which allows visitors to experience those paintings in an intimate, welcoming setting. I w hat makes us relevant is the way we unite our past with our present, using innovative exhibitions, authoritative scholarship and pioneering education programmes to change lives for the better. Cover image: installation view of David Hockney, Mr and Mrs Clark and Percy, 1970-71, acrylic on canvas, 213 x 304. Tate, Presented by the Friends of the Tate Gallery 1971 © David Hockeny / Tate. Dulwich Picture Gallery is built on history. Picture Our From our founders’ wish to have an art Future: The Campaign for Dulwich Picture recognises a number of things of which gallery ‘for the inspection of the public’, Gallery has begun. Alongside my co-chair artists and scholars, aristocrats and school of the Campaign Cabinet, Bernard Hunter, particularly to celebrate our long-time children have come by horse, train, car we look forward to working with all of the Trustee and supporter Theresa Sackler, and bicycle to view our collection – Van Gallery’s supporters to reach this goal. who was recently awarded a DBE Gogh walked from Central London to view in the Queen’s Birthday Honours List, the Gallery in 1873. The paintings and The position we start from is a strong adding even more lustre to the Prince of building are a monument to the tastes of one: against the background of a troubled Wales’ Medal for Philanthropy which was two centuries ago, yet it is a testament world-economy, the Gallery exceeded its awarded to her in 2011. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Preservation Board
The Preservation of Richmond Park © n 1751, the rangership was granted to King George’s youngest agricultural improvements. Minister Lord John Russell (later Earl Russell) in 1846. which still bears his name. Queen Elizabeth - the army’s famous daughter Princess Amelia. She immediately began to tighten the When a new gate and gate lodge In 1835 when Petersham Lodge Queen Mother) were “Phantom” restrictions on entry. Within 6 weeks of her taking up the post there were required for the Richmond In 1801 King George III decided that Henry Addington, his new Prime came on the market, the Office given White Lodge as reconnaissance Iwas an incident. Gate, the plan by Sir John Soane of Woods and Works purchased their first home after squadron, and (surviving in the Soane Museum in the estate, demolished the very their marriage in 1923. 50 acres in the The annual beating of the bounds of Richmond parish had always London) was submitted to the King decayed house, and restored the They found it too remote south-west required entry into the Park. But the bound-beating party of 1751 in April 1795 and was then marked whole of “Petersham Park” to and rapidly gave it up to of the Park found the usual ladder-stile removed. They entered by a breach in the “as approved by His Majesty”. Richmond Park. A new terrace move into London! were used for wall. Sir John Soane was also walk was made along the top of a large hutted instrumental in transforming the the hillside. Old Lodge had been By then the Park was camp for the “mole catcher’s cottage” into the demolished in 1839-41. -
State Opening of Parliament State Opening of Parliament 1
State Opening of Parliament State Opening of Parliament 1 The State Opening of Parliament marks the Start of Parliament’s year start of the parliamentary year and the Queen’s The Queen’s Speech, delivered at State Opening, is the public Speech sets out the government’s agenda. statement of the government’s legislative programme for Parliament’s next working year. State Opening is the only regular occasion when the three constituent parts of Parliament that have to give their assent to new laws – the Sovereign, the House of Lords and the House of Commons – meet. The Speech is written by the government and read out in the House of Lords. Parliamentary year Queen’s Speech A ‘parliament’ runs from one general Members of both Houses and guests election to the next (five years). It is including judges, ambassadors and high broken up into sessions which run for commissioners gather in the Lords about a year – the ‘parliamentary year’. chamber for the speech. Many wear national or ceremonial dress.The Lord State Opening takes place on the first Chancellor gives the speech to the day of a new session. The Queen’s Queen who reads it out from the Speech marks the formal start to the Throne (right and see diagram on year. Neither House can conduct any page 4). business until after it has been read. Setting the agenda The speech is central to the State Contents Opening ceremony because it sets out the government’s legislative agenda Start of Parliament’s year 1 for the year. The final words, ‘Other Buckingham Palace to the House of Lords 2 measures will be laid before you’, give How it happens 4 the government flexibility to introduce Back to work 5 other bills (draft laws). -
Scarfe the Wall Live Tour Group.Pages
THE ART OF FROM PINK FLOYD THE WALL PRESENTED BY ROGER WATERS THE WALL LIVE TOUR ARTWORK CATALOGUE THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Image © Gerald Scarfe Roger Waters, c.2010 The Mother, c.2010 Pen, Ink & Watercolour on Paper Pen, Ink & Watercolour on Paper 33” x 23 ¼” sheet size 32” x 22 ¾” sheet size This illustration of Roger Waters on his The Wall Live A recent concept design, done for Roger Water’s tour (2010-2013) appeared on the front cover of The Wall Live tour (2010-2013) that was based on a Billboard Magazine 24 July, 2012. similar scene in the flm shown during the song The Trial where The Mother morphs into a giant protective wall surrounding a baby Pink. 458 GEARY STREET • SAN FRANCISCO CA 94102 • sfae.com • 415.441.8840 main THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Crazy Toys in the Attic, c.2010 Watercolor, Pen & Ink Collage on Paper 23 ¼” x 33” sheet size Image © Gerald Scarfe Go On Judge, Shit on Him! c.2010 This drawing is based on a segment of the animated scene of The Trial in The Wall flm. As the line “Crazy…Toys in the Pen, Ink & Watercolour on Paper Attic, I am crazy” is sung, the viewer sees a terrifed Pink 32 ½” x 22 ½” sheet size fade to grey as the camera zooms in on his eye until the scene fades into the next animation sequence. -
Scarfe Wall Print.Pages
THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC The Wall Commemorative Print, 2017 Hand-Signed, Limited edition (100) Archival Pigment Print on Paper 40” x 30” sheet size Image © Gerald Scarfe 458 GEARY STREET • SAN FRANCISCO CA 94102 • sfae.com • 415.441.8840 main THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC ABOUT THE PRINT This powerful, large-format limited-edition artwork combines two iconic Gerald Scarfe paintings - The Scream and Giant Judge and Marching Hammers - into a stunningly vibrant and expressive work of art. The Scream painting was most notably used for the film poster and is now the most iconic image from the project. It features the main character of the album and film, ‘Pink’ who is illustrated in a rough, expressionistic style. His head is tilted up toward the sky and his mouth hangs wide open in a deeply animalistic and nearly perceptible scream. Pink is based on both Roger Waters (who wrote the songs based in part on his own experiences) and Syd Barrett, both distinctive artists and founding members of Pink Floyd. In the story narrative, Pink is struggling with the pressures and angst of existence in a world of competing hedonistic desires, fame and fortune, and the effects of first-hand experiences of war as a child. The Giant Judge and Marching Hammers painting captures the overall atmosphere of the album and film. It features the mesmerizing marching 'Crossed Hammers' motif that became synonymous with oppressive regimes and over-reaching and extreme governmental power. -
Tate Report 2010–2011
Tate Report 2010–11 Contents Introduction 3 Collection Developing the Collection 9 Caring for the Collection 11 Research 13 Acquisition highlights 16 Programme Tate Britain 35 Tate Modern 38 Tate Liverpool 40 Tate St Ives 43 Programme calendar 46 Audiences Engaging audiences 48 Online and media 52 Sharing with the nation 55 Looking abroad 57 Improving Tate Staff and sustainability 60 Funding and trading 62 Future Developments Building for the future 67 Financial Review 70 Donations, Gifts, Legacies and Sponsorships 73 Tate Report 10–11 2 Introduction Tate’s purpose is to enrich people’s lives through their encounter with art. The relationship between museums and audiences evolves over time and continues to change because of the impact of new technology and more demanding public expectations. Tate embraces this change across the spectrum of its activity. Sharing new insights Tate’s work is founded on rigorous research, ranging from the development of leading-edge conservation techniques to informing Tate’s learning practice and presenting familiar artists in a new light. Such perspectives were evident this year in the exhibitions Gauguin: Maker of Myth, Henry Moore, Picasso: Peace and Freedom and Peter Lanyon. Research also contributes to the development of the Collection and its display, as does the dialogue with colleagues around the world – from Asia and Africa, to the Middle East and South America. The resulting expertise forms the basis of a broadening understanding of art history, which in turn shapes Tate’s acquisitions and the character of the Collection. Important works were acquired this year by artists including Pak Sheung Chuen, Jimmie Durham, Boris Mikhailov, Felix Gonzales- Torres and Do Ho Suh. -
Secret Side of London Scavenger Hunt
Secret Side of London Scavenger Hunt What better way to celebrate The Senior Section Spectacular than by exploring one of the greatest cities in the world! London is full of interesting places, monuments and fascinating museums, many of which are undiscovered by visitors to our capital city. This scavenger hunt is all about exploring a side to London you might never have seen before… (all these places are free to visit!) There are 100 Quests - how many can you complete and how many points can you earn? You will need to plan your own route – it will not be possible to complete all the challenges set in one day, but the idea is to choose parts of London you want to explore and complete as many quests as possible. Read through the whole resource before starting out, as there are many quests to choose from and bonus points to earn… Have a great day! The Secret Side of London Scavenger Hunt resource was put together by a team of Senior Section leaders in Hampshire North to celebrate The Senior Section Spectacular in 2016. As a county, we used this resource as part of a centenary event with teams of Senior Section from across the county all taking part on the same day. We hope this resource might inspire other similar events or maybe just as a way to explore London on a unit day trip…its up to you! If you would like a badge to mark taking part in this challenge, you can order a Hampshire North County badge designed by members of The Senior Section to celebrate the centenary (see photo below). -
In and Around Buckingham Palace
MY BABA’s In and Around BuckinghamBy Nanny Anita Palace There are so many wonderful things to do in St. James’s Directions: and Green Park that are not included in this trail, so feel free to use this a base in which This trail starts on Buckingham you can go off and explore the Palace Road by the Royal Mews surrounding area. and finishes at the other end of The Mall by Admiralty Arch. • Start at the Royal Mews located on Buckingham Palace Road; if you do go in for a visit then you will exit further along Buckingham Palace Road. Either way, continue down the road until you come to Buckingham Palace. • Head into St. James’s Park and follow The Mall down to Admiralty Arch. • Walking down The Mall there are St. James’s Palace and The Mall Galleries on your left. • Towards the end of the Mall, on the right, is The Household Cavalry Museum. If you are planning to be there in time to see the changing of the guards, be aware that it will become extremely busy and the whole process takes around 45 minutes. For more fun things to do visit the My Baba blog at www.mybaba.com or tweet your trail @ mybabatweets INFORMATION For Attractions ATTRACTION OPENING TIMES COST February, March, November Adult 8.75 Royal Mews 10am-4pm Under 17s 5.40 April-October Under 5s free 10am-5pm Open during the sum- Adult 19.75 mer only: check their Buckingham Under 17s 11.25 website for details. Palace Under 5s free Adults 3.00 Daily 10am-5pm Mall Galleries Under 18s free April-October Adults 7.00 10am-6pm Household Calvary Child 5.00 November-March Museum Under 5s free 10am-5pm N.B Security into these attractions is very tight and you will be subject to airport style checks.