Key Title Information Cézanne at the Whitworth

Total Page:16

File Type:pdf, Size:1020Kb

Key Title Information Cézanne at the Whitworth Key title information Cézanne at the Whitworth £25.00 Product Details Accompanies the exhibition, Cézanne at the Whitworth at the Artist(s) Paul Cézanne Whitworth Art Gallery, Manchester (24 August 2019 – 1 March 2020), Author(s) Elizabeth Cowling, Yuval Etgar, Rosalind McKever, Karsten which marks Karsten Schubert’s bequest. Schubert, Richard Shone, Richard Thomson, Colin Wiggins, Edward This exhibition celebrates an extraordinary collection of drawings and Wouk prints by Paul Cézanne (1839–1906) that has been gifted and placed Publisher Ridinghouse on long-term loan to the Whitworth by gallerist, collector, author and ISBN 9781909932562 founder of Ridinghouse, Karsten Schubert. Format hardback This important act of generosity means that the Whitworth now holds Pages 78 the best collection of Cézanne works on paper in the United Kingdom, Illustrations 45 colour including a version of every print produced by the artist. Dimensions 270mm x 225mm Weight 820 These works will significantly expand the research potential of the Whitworth’s important collection of late nineteenth-century French and Dutch drawings by artists including Van Gogh, Seurat, Gauguin and Publication Date: Jan 2020 Pissarro – whose portrait of Cézanne is included in this publication. The exhibition will be the first in the UK since 1973 to focus exclusively on Cézanne’s drawings and prints, and also draws together other artistic copies: Raimondi’s copy of Raphael’s Judgement of Paris and, bringing us to the present day, Michael Landy’s Cézanne Bathers. With a lead essay by renowned Impressionist scholar Richard Thomson on the significance of the bequest to the Whitworth’s collection of nineteenth-century drawings, a biographical essay on Schubert by Richard Shone, an interview of Karsten Schubert by Yuval Etgar on the bequest, and an essay by Christopher Lloyd on how these works relate to Cézanne’s output as a draughtsman. This publication also includes a detailed catalogue section on all works in the exhibitions with contributions by Elizabeth Cowling, Rosalind McKever, Colin Wiggins and Edward Wouk. Key Selling Points Accompanies the exhibition which marks Karsten Schubert’s bequest of approx. 25 works from his personal collection to the gallery. Distributed by Enquiries Website Cornerhouse Publications +44 (0)161 212 3466 / 3468 www.cornerhousepublications.org HOME [email protected] 2 Tony Wilson Place Twitter Manchester Orders @CornerhousePubs M15 4FN +44 (0) 1752 202301 England [email protected].
Recommended publications
  • CV FIU Aug 2017
    Patel, Alpesh Kantilal 2-Sep-17 CURRICULUM VITAE ALPESH KANTILAL PATEL DEPARTMENT OF ART AND ART HISTORY EDUCATION PhD University of Manchester Art History and Visual Studies Apr 2009 Manchester, England BA Yale University History of Art (with distinction) Sep 1997 New Haven, Connecticut FULL-TIME ACADEMIC EXPERIENCE Florida International University Associate Professor (with tenure), Aug 2017− Miami, Florida Contemporary Art and Theory Assistant Professor, Aug 2011− Contemporary Art and Theory Jul 2017 Affiliate Faculty, Jun 2013− Center for Women’s and Gender Studies present Affiliate Faculty, Aug 2014− African and African Diaspora Program present Other academic affiliations Cranbrook Academy of Art Critical Studies Fellow Sep−Dec Bloomfield Hills, Michigan 2016 University of Fine Arts Fulbright Scholar Jun−Aug Poznań, Poland 2016 Adam Mickiewicz University Fulbright Scholar, Fall 2015 Poznań, Poland Art History Department New York University Visiting Scholar, Sep 2010− New York City Center for Gender and Sexuality May 2011 NONACADEMIC EXPERIENCE New Museum of Executive Assistant, Director’s Office Jan 2002− Contemporary Art May 2005 Clinica Estetico and Assistant to Film Producer Ed Saxon Sep 2000− Magnet Entertainment Dec 2001 Patel, Alpesh Kantilal 2-Sep-17 Whitney Museum Special Projects Coordinator, Jan−Aug of American Art Director’s Office 2000 Whitney Museum Catalog Coordinator Jun 1999− of American Art (Film/Video Section), Jan 2000 2000 Biennial Exhibition Whitney Museum Curatorial Research Assistant, Dec 1998− of American Art “The American Century: Art and Culture, May 1999 1950−2000” Exhibition/Catalog RoseLee Goldberg Research Assistant for Author’s Sep 1998− Books: Laurie Anderson (Abrams, Mar 1999 2000) and Performance Art: Live (part-time Art since 1960 (Abrams, 1998) from Jan) Jack Tilton Gallery Codirector Jun-Aug 1998 From Sep 1997 to Sep 1998: Winter 1998 (part-time): Photography Traffic Coordinator, Photonica Winter 1998 (part-time): Curatorial Intern, Solomon R.
    [Show full text]
  • CV—Alpesh K. Patel/ Page 1 of 6
    ALPESH KANTILAL PATEL CURRICULUM VITAE EDUCATION UNIVERSITY OF MANCHESTER, Manchester, England PhD in ART HISTORY AND VISUAL STUDIES, April 2009 Dissertation: “Queer Desi Visual Culture across the Brown Atlantic (US/UK)” MPHIL in DRAMA/SCREEN STUDIES (upgraded to PHD in 2006) YALE UNIVERSITY, New Haven, Connecticut BA in HISTORY OF ART with distinction in major, September 1997 ACADEMIC POSITIONS FLORIDA INTERNATIONAL UNIVERSITY, Miami, FL Assistant Professor of Contemporary Art and Theory, August 2011-present Director, Master in Fine Arts in Visual Arts, July 2012-present NEW YORK UNIVERSITY, New York, NY, Fall 2010-Spring 2011 Visiting Scholar, Center for Study of Gender and Sexuality FELLOWSHIPS, SCHOLARSHIPS, BURSARIES, STUDENTSHIPS, GRANTS, AND OTHER HONORS NATIONAL ENDOWMENT OF ARTS SUMMER INSTITUTE: Re-envisioning American Art History: Asian American Art, Research, and Teaching at Asian/Pacific/American Institute at New York University, July 2012 CITY OF MIAMI BEACH CULTURAL ARTS COUNCIL, Junior Anchor Grant to develop year-round programming for Miami Beach Urban Studios (MBUS), October 2012. $30,000 with matching grant FLORIDA INTERNATIONAL UNIVERSITY, Office of Engaged Creativity Grant, 2011-12 COLLEGE ART ASSOCIATION (CAA), Professional Development Fellowship, finalist, 2008 HIGHER EDUCATION FUNDING COUNCIL FOR ENGLAND (HEFCE), Overseas Research Studentship, 2006-8 UNIVERSITY OF MANCHESTER SCHOOL OF ARTS, HISTORIES AND CULTURES Skills Awareness for Graduate Education (SAGE) grant, to fund organization of postgraduate conference,
    [Show full text]
  • Valuing Older People (VOP) – Culture Champions Scheme Evaluation
    Valuing Older People (VOP) – Culture Champions Scheme Evaluation 1. Introduction The Audience Agency was asked by the Valuing Older People (VOP) team to undertake the evaluation of the VOP Culture Champions scheme. This report illustrates the results from the evaluation. It introduces the scheme and the context within which it was developed. It reviews the role of the Culture Champions and their networks. It then moves onto a review of the events that have been organised as part of the scheme and the impact these have had on the success of the scheme itself. This evaluation will then review the scheme’s impact in terms of: • Encouraging older people in Manchester to engage with culture • Developing suitable provision at the cultural organisations involved in the scheme • Offering personal development opportunities for the Culture Champions Finally, the evaluation reviews improvements and development for the scheme suggested by the Culture Champions themselves. 1.1 Methodology We used three key methodologies to collect perspectives from stakeholders and participants in the project. • Surveys. We sent each Culture Champion a paper survey to fill in at home. With each paper survey we included a pre-stamped envelope for them to return the surveys free of cost. We sent all key contacts at participating cultural organisations a brief survey by email. At each Cultural Tour we asked all Culture Champions to fill in a survey at the end of the tour. • 1-2-1 interviews We conducted 1-2-1 interviews over the phone with a random sample of Culture Champions. • Focus group The VOPCO working group commissioned Big Art People to deliver a focus group with Culture Champions.
    [Show full text]
  • Vita Student at First Street Manchester Aspect Pack
    Vita Student at First Street Manchester Aspect Pack To Be Used In Conjunction With The Brochure & Floorplans Introduction ‘Vita at First Street occupies a prime position within a £500m master-planned regeneration project in the heart of Manchester city centre’ The aim of this document is to give greater understanding of the location immediately surrounding a specific development. It includes various photographs taken of and around the plot and shows features that are important to potential investors and a greater level of detail that can’t be gained from a map alone. Each slide has a photo and a map which shows specifically what is being illustrated by identifying the plot and the direction of the photo. Map Key The plot for Vita at First Street The beginning of the green arrow on each map shows the point at which the photo was taken and the arrow head shows the direction in which it was taken . First Street Aerial View First Street North Plot Map Plot 1 – 4* Hotel (208 Rooms) Plot 2 – Cultural building – theatres, gallery, Plot 1A – Retail, food & beverage cinema (Cornerhouse & Library Plot 3 – Multi-storey car park Theatre Company) Plot 3A – Retail, food & beverage First Street North 3D Modelling VITA Plot 1 – 4* Hotel (208 Rooms) Plot 2 – Cultural building – theatres, gallery, Plot 1A – Retail, food & beverage cinema (Cornerhouse & Library Plot 3 – Multi-storey car park Theatre Company) Plot 3A – Retail, food & beverage First Street North 3D Modelling No1 FIRST STREET PLOT 1 VITA PLOT 2 PLOT 3 VITA Plot 1 – 4* Hotel (208 Rooms) Plot 2 – Cultural building – theatres, gallery, Plot 1A – Retail, food & beverage cinema (Cornerhouse & Library Plot 3 – Multi-storey car park Theatre Company) Plot 3A – Retail, food & beverage Main Entrance to Vita at First Street Photo showing the Vita at First Street plot taken from the same aspect as the main render used in the brochure.
    [Show full text]
  • Cornerhouse Manchester
    Audience Research: Cornerhouse Manchester Published by All About Audiences A summary of the findings of seven pieces of audience research: Cornerhouse Audience Profiling Report Cornerhouse Economic Impact Summary In-Depth Interviews with Audience Members Market Assessment Online Survey of Cornerhouse Website Users On-Site Survey with Visitors to Cornerhouse Manchester Single Spies Mystery Shopping Research The research and recommendations were used to inform Cornerhouse’s marketing and communications strategy. The Audience Agency is a not-for-profit organisation created out of the merger between All About Audiences, formerly Arts About Manchester, and Audiences London Plus in 2012. © The Audience Agency 2013 Cornerhouse Audience Research Executive Summary August 2010 Introduction This Executive Summary is based on the findings of seven individual research reports produced by All About Audiences for Cornerhouse in March 2010: Cornerhouse Audience Profiling Report Cornerhouse Economic Impact Summary In-Depth Interviews with Audience Members Market Assessment Online Survey of Cornerhouse Website Users On-Site Survey with Visitors to Cornerhouse Manchester Single Spies Mystery Shopping Research The research will be used to inform Cornerhouse’s marketing and communications strategy going forward. A similar research exercise was carried out in 2005 which has been used as a baseline for understanding how the venue’s audience has changed over time. Each report has its own executive summary. This report does not repeat these but seeks to draw out the main findings overall and to make recommendations for action, based on the research. Key Findings The overall messages from the research are very positive. Cornerhouse has a strong, distinctive brand and image that is easily recognisable.
    [Show full text]
  • Plus Tate: Connecting Art to People and Places Plus Tate: Connectingtable of Contents Art to People and Places Contents
    PLUS TATE: CONNECTING ART TO PEOPLE AND PLACES PLUS TATE: CONNECTINGTABLE OF CONTENTS ART TO PEOPLE AND PLACES CONTENTS TABLE5 INTRODUCTION OF CONTENTS 10 PLUS TATE ACROSS THE UK 12 ARNOLFINI 16 BALTIC CENTRE FOR CONTEMPORARY ART 20 CORNERHOUSE / HOME Front cover: Kenneth Martin Chance and Order VI (detail) screenprint on paper 1976 Tate 24 FIRSTSITE © The estate of Kenneth Martin 28 GLYNN VIVIAN ART GALLERY First published in 2015 by order of the Tate Trustees by 32 GRIZEDALE ARTS Tate Publishing, a division of Tate Enterprises Ltd, Millbank, SW1P 4RG www.tate.org.uk/publishing 36 THE HEPWORTH WAKEFIELD © Tate 2015 40 IKON 44 KETTLE’S YARD All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, 48 MIMA including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers or a licence from the Copyright Licensing 52 MOSTYN Agency Ltd, www.cla.co.uk 56 NEWLYN ART GALLERY & THE EXCHANGE Designed by Tate Design Studio 2015 60 NOTTINGHAM CONTEMPORARY Partner profiles written by Becky Schutt Coordinated by Amanda King 64 THE PIER ARTS CENTRE Printed by Westerham Press Ltd, UK 68 TATE Printed on paper certified by the Forest Stewardship Council 74 TOWNER ACKNOWLEDGEMENTS 78 TURNER CONTEMPORARY In making this publication, Tate is grateful to the many contributors from 82 WHITWORTH ART GALLERY the Plus Tate network for their readiness to participate and share
    [Show full text]
  • Crossing Boundaries the Role of Cross-Art-Form and Media Venues in the Age of 'Clicks' Not 'Bricks'
    Crossing Boundaries The role of cross-art-form and media venues in the age of 'clicks' not 'bricks' May 2008 tom fleming / creative consultancy for UK Film Council in association with Arts Council England and the Arts and Humanities Research Council ………………………… 2 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council Sheffield Showroom Foreword 6 Executive Summary 7 1. Introduction 13 1.1 Three Thematic Areas 18 1.1.1 Creative Place-Making 18 1.1.2 Creative Economy 19 1.1.3 Creative Infrastructure 19 1.2 Two Footprints: the Physical 20 and the Digital 1.2.1 Digitalisation – Opening up the 24 Venues? 1.2.2 Convergence and Public Sector 27 Publishing: Life in the Age of Generation YouTube 1.3 From ‘Infrastructure for You’ 29 to ‘Infrastructure by You’ 1.4 Cultural Intermediaries 31 2. The Role and Impact 36 of the Venues 2.1 Creative Place-Making 41 2.1.1 Creative Place-Making: Leading the 45 Change 2.2 Creative Economy: Creating 54 Spaces Where Interactions take Place ………………………… 4 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council 2.2.1 Knowledge Transfer and Exchange: 55 the Spaces Where Interactions Can Take Place 2.2.2 Business Support and mentoring: 59 Skills and Capacity for the Knowledge Economy 2.2.3 Extreme Collaboration and 62 Convergence: The Spark for Innovation and Creativity 2.2.4 Showcasing and Engaging: 67 Supporting Talent and Facilitating Debate 2.3 Creative Infrastructure – 71 Cultural Intermediaries for Democratised Culture 2.3.1 Cinema at the Centre: Programming 72 the Venues 3.
    [Show full text]
  • Manchester-Visitor-Info-V.01.19.Pdf
    Manchester Visitor Information What to see and do in Manchester Manchester is a city waiting to be discovered There is more to Manchester than meets the eye; it’s a city just waiting to be discovered. From superb shopping areas and exciting nightlife to a vibrant history and contrasting vistas, Manchester really has everything. It is a modern city that is Throw into the mix an dynamic, welcoming and impressive range of galleries energetic with stunning and museums (the majority architecture, fascinating of which offer free entry) and museums, award winning visitors are guaranteed to be attractions and a burgeoning stimulated and invigorated. restaurant and bar scene. Manchester has a compact Manchester is a hot-bed of and accessible city centre. cultural activity. From the All areas are within walking thriving and dominant music distance, but if you want scene which gave birth to to save energy, hop onto sons as diverse as Oasis and the Metrolink tram or jump the Halle Orchestra; to one of aboard the free Mettroshuttle the many world class festivals bus. and the rich sporting heritage. We hope you have a wonderful visit. Manchester History Manchester has a unique history and heritage from its early beginnings as the Roman Fort of ‘Mamucium’ [meaning breast-shape hill], to today’s reinvented vibrant and cosmopolitan city. Known as ‘King Cotton’ or ‘Cottonopolis’ during the 19th century, Manchester played a unique part in changing the world for future generations. The cotton and textile industry turned Manchester into the powerhouse of the Industrial Revolution. Leaders of commerce, science and technology, like John Dalton and Richard Arkwright, helped create a vibrant and thriving economy.
    [Show full text]
  • Locals'guidetomanchester
    4 Think of England Saturday Guardian 02.02.13 5 Calendar England: what’s on where and when Locals’GuideToManchester guardian.co.uk/travel/england The New York Times recently included Manchester in its top 50 places to visit in the world. No surprise to Mancunians, who have never been short of pride in a city that is home to two of Englands’s best football clubs, the BBC’s MediaCity, the Lowry and Imperial War Museum North. But it’s a city where the advice of a local can be crucial. The Hacienda hasn’t survived the past two decades of regeneration but Manchester still boasts England’s most innovative nightclub, the Warehouse Project, and its bohemian Northern Quarter has at least 20 record shops, plus galleries, live venues, bars and restaurants, and some great clothes shops. Compiled by Luke Bainbridge 1 STARGAZE FROM THE GODLEE OBSERVATORY RAIL TRAIL 7 DOWN A PROPER PINT AT THE CASTLE Manchester’s Liverpool Emma Jane Unsworth author, Hungry, the Stars and Everything Road railway station, Danny Brocklehurst scriptwriter on Shameless opened in 1830, is the world’s oldest surviving rail “There are some places in a city you go to for drama, some for peace, and some you’re terminus “In the early 1990s, I worked at a comedy club at the end of Oldham Street. In those just glad are there. The Godlee Observatory in the roof of Manchester University’s post-Madchester days, Oldham Street was youthfully cool: home to Afflecks Palace, Sackville Street Building was built in 1902 and its white timber dome is still operated by Dry Bar, Eastern Bloc Records and Vinyl Exchange.
    [Show full text]
  • Manchester's Radical History How Hyde
    7/1/2021 Manchester's Radical History – Exploring Greater Manchester's Grassroots History Manchester's Radical History Exploring Greater Manchester's Grassroots History NOVEMBER 30, 2013 BY SARAH IRVING How Hyde ‘Spymasters’ looked for Commies on BBC Children’s Hour By Derek Paison Salford born folk singer and song- writer Ewan MacColl is remembered today more for his music than his agit-prop plays. But it was his political activities before the last war and his membership of the Communist Party that led to MI5 opening a file on him in the 1930s and why they kept him, and his friends, under close surveillance. Secret service papers released by the national archives, now in Ashton-under-Lyne central library, offer a clue into how British intelligence (MI5) spied on working-class folk singer Ewan MacColl and his wife playwright, Joan Lilewood, who lived at Oak Coage on Higham Lane, Hyde, Cheshire, during World War II. MI5 opened a file on James Henry Miller (MacColl’s real name) in the early 1930s when he was living in Salford. As an active Communist Party member, he had been involved in the unemployed workers’ campaigns and in the mass trespass of Kinder Scout in Derbyshire. Before enlisting in the army in July 1940, he had wrien for the radio programme Children’s Hour. In Joan Lilewood’s autobiography, she writes: “Jimmie was registered at the Labour Exchange as a motor mechanic, but he did beer busking, singing Hebridean songs to cinema queues. Someone drew Archie Harding’s aention to him and from that time on he appeared in the North Region’s features (BBC) whenever a ‘proletarian’ voice was needed.” As a BBC presenter for Children’s Hour and Communist Party member, Lilewood also came under the watch of MI5.
    [Show full text]
  • Carnegie Council
    RRTRBILITV D I ARY 1ARTABILITY' -A DIARY This is an attempt to put down chronologically the events surrounding the doomed Artability Conference which had been due to take place in Manchester 22-24th, September, 1986. Glossary. Coalit ion = Greater Manchester Coalition of Disabled People; an organisation of disabled people whose management committee and workers are all disabled. DPSG = Disabled Peoples Steering Group; this is a sub committee of Manchester City Council's Equal Opportunities Committee. Its Members are all delegates of disabled controlled organisations in Manchester, and as a body it makes policy on disability issues which are then carried out by the Equal Opportunites (disabled) workers in the council's Equal Opportunities Unit. BCODP = British Council of Organisations of Disabled People; both the Coalition and the DPSG are members of this national organisation which brings together all those organisations controlled by disabled people. Artability » as well as the title of the conference this was also the name of the planning sub-committee of the Carnegie Council. The Council had been set up by the Carnegie Trust following the 'Attenborough Report' on Arts and Disabled People, published after a committee of enquiry, in 1985. Numbers in brackets will refer to numbered documents. (1) 18 Oct 1985; Artability Committee meets at Palace Theatre, Manchester. I don't whether this was the first meeting of this committee. Of the 7 members listed, as far as I know none were disabled. An outline of the proposed dates and timetable for the conference was attached to the agenda, so obviously some work had gone into it already.
    [Show full text]
  • Report on Cultural Organisations to The
    Manchester City Council Item 2 Cultural Engagement Task and Finish Group 15 August 2012 Manchester City Council Report for Resolution Report to: Cultural Engagement Task and Finish Group – 15 August 2012 Subject: What are cultural organisations in the city doing? What work is Manchester Art Gallery doing to directly engage residents of the city in arts and culture? Report of: Fran Toms, Head of Culture Summary: This report responds to the purpose detailed for meeting three in the work programme for the Cultural Engagement Task and Finish Group; To investigate the work which organisations in Manchester undertake to engage residents in their work, including but not limited to museums, theatres and art galleries. To consider the different ways in which the Council influences external organisations that the Council contributes funds to directly as well those which it does not fund. To focus on how well the organisations engage hard to reach groups, including young people and people from deprived or isolated communities and explore what measures are already in place or could be implemented to support the engagement more fully. To invite representatives from various arts organisations to give their views on the work they do to engage with members of the public, how the Council fulfils its role in this and ways in which they would improve this work. Recommendations 1. That the Committee note the contents of the report and are invited to lead a discussion to examine the detail of the work. Wards Affected: All Contact Officers: Name: Fran Toms
    [Show full text]