Collections Policy 2017 - 2025
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Mildura Arts Centre Collections Policy Policy
Mildura Arts Centre Collections Policy Policy – CP069 Prepared Reviewed Approved Date Council Minute No. July 2020 Arts & Culture Council February 2021 2021/0029 Development Manager Trim File: 18/02/01 To be reviewed: February 2026 Document Owner: Review Frequency: 5 Yearly Manager Community Futures 1. The purpose of this policy is: To provide guidelines for the considered collection of items for the Mildura Arts Centre Permanent Collection (the ‘Collection’) by purchase, gift/bequest, transfer or commission. Founded upon the bequest of R.D. and Hilda Elliott the Collection is a significant and valuable asset which is often referred to ‘as one of Victoria’s best kept secrets’. There are significant opportunities for our community and region through development and promotion of the Collection. Mildura Arts Centre is a leading regional arts, culture and heritage precinct which includes a public gallery, performing arts theatre, sculpture park, and Mildura’s most important heritage building, Rio Vista Historic House. This policy provides avenues for the Collection to be embraced on a local, national and international level, to preserve it and invest in cultural heritage. This policy provides guidance regarding acquisitions to the Collection which will enhance the cultural vitality and viability of our community. The Collection’s Areas of Significance are: Period: 1890s to 1930 approx. Work by Frank Brangwyn or William Orpen 1 British Art Work by artists associated with Brangwyn and Orpen Work associated with existing collection works 2 Historical Period: pre-1950s Australian Art Work depicting the Murray-Darling Region (the ‘Region’) Period: 1960 to early 1980s approx. Work by artists associated with the events collectively known as the Sculpture Triennials. -
City of Whitehorse Freedom of Information Part II Statement 1 January 2021
City of Whitehorse Freedom of Information Part II Statement 1 January 2021 Pursuant to the Freedom of Information Act 1982 Updated 1 July 2021 Contents PART II PUBLICATION OF CERTAIN DOCUMENTS AND INFORMATION ....................................... 4 Introduction ...................................................................................................................................... 4 STATEMENT 1 - ORGANISATION AND FUNCTIONS OF COUNCIL FREEDOM OF INFORMATION ACT 1982 – SECTION 7(1)(A)(I), (VII) AND (VIII) ................................................................................. 4 Establishment .................................................................................................................................. 4 Purpose of Council .......................................................................................................................... 5 What are the Roles and Powers of a Council? ............................................................................... 5 Overarching governance principles and supporting principles ....................................................... 2 General power ................................................................................................................................. 2 How is a Council constituted? ......................................................................................................... 2 Council is a body corporate ............................................................................................................ -
The City of St. John's
Th e City of St. John’s Arts Space: Demand and Needs Analysis Phase 1A & 1B Report City Arts Study - Report_15March2013.indd i 3/22/2013 1:58:30 PM Prepared by Sheppard Case Architects & Schick Shiner Associates For Th e City of St. John’s November, 2012 City Arts Study - Report_15March2013.indd ii 3/22/2013 1:58:40 PM Table of Contents: 1.0 Executive Summary and Conclusions 1. Executive Summary and Conclusions .......................................................................................................................................2 PHASE - 1A DEMANDS & NEEDS ANALYSIS 2.0 Introduction 1. Executive Summary and Conclusions .......................................................................................................................................2 2. Project Goal ...........................................................................................................................................................................14 3. Methodologies ........................................................................................................................................................................14 4. Business Plan .........................................................................................................................................................................15 5. Precursory Reports .................................................................................................................................................................16 6. Th e Forum ..............................................................................................................................................................................17 -
Strategic Plan 2021 2026
STRATEGIC PLAN 2021 2026 Letter from the Chief Executive Officer and We want to see more communities across our country recognizing and celebrating the contributions made by artists with disabilities, not just in Board Liaison, Strategic Planning the visual arts but across disciplines. To do that, we need to be a leader nationally, setting out high standards in program design and delivery, and giving our artists the right space and stage to properly showcase their At the time of writing, the world is still grappling with the COVID-19 talent and inspire others to follow. pandemic, and anxiety is dominating so many of our lives. Ultimately, what we are talking about is making Calgary and Alberta the What has remained unchanged, however, is Indefinite Arts Centre’s epicentre of our country’s disability arts movement. And we have all resiliency and adaptability in ensuring that we provide the platforms the ingredients to make this happen. and supports necessary to our growing community of artists living with disabilities. Through a combination of both virtual and mail-in We have an amazing team of staff and volunteers. By welcoming our programs, we continue to engage with more than 95% of our artist sister organizations Artistic Expressions and Momo Movement into community. More importantly, we are giving our artists the tools and our fold, we are now equipped with the infrastructure to expand our supports needed to continue their journey – as artists. program disciplines. Most importantly, we have public and private sector partners – and a growing community of donors – who believe in Though COVID-19 has made many things unclear, one unmistakable the work that we do and invest in our artists and our organization. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
School of Art ∙ Mcclure Gallery 350, Victoria Avenue, Montreal (Quebec) H3Z 2N4 514-488-9558 [email protected]
Visual Arts Centre School of Art ∙ McClure Gallery www.visualartscentre.ca 350, Victoria avenue, Montreal (Quebec) H3Z 2N4 514-488-9558 [email protected] Fall 2020 1 Visual Arts Centre Welcome to the Visual Arts Centre, a thriving cultural community of artists, teachers, and students. We’ve been part of Montreal’s artistic fabric for almost 75 years. Our School of Art is Canada’s largest bilingual independent art school. Our McClure Gallery offers exciting exhibitions, and educational programming. Our outreach program—ARTreach—reaches out into the community to creatively engage with the broader public. Our Mandate: To offer excellence and accessibility in the education and presentation of the visual arts. To provide a welcoming and stimulating environment that encourages the development of skill and creativity in each student. To nurture a sense of community in which all can learn from and value the support of fellow students, artists, and teachers. To promote and advocate for the visual arts in the broader society and to foster alliances that help bring the visual arts more fully into the centre of our lives. Our Administrative Team: The administrative team at the Visual Arts Centre is comprised of specialized members who are highly passionate about our cultural community. They work hard to offer a welcoming environment and ensure that your studio experiences are inspiring. Natasha S. Reid, Executive Director Natasha Reid is the Executive Director of the Visual Arts Centre, overseeing the School of Art, the McClure Gallery, and ARTreach. She holds a PhD in art education from Concordia University and comes to the Centre with diverse experiences in a variety of artistic contexts, including museums, universities, community settings, and artist-run centres in Montreal, Toronto, and the United States. -
25Th Anniversary
25th Anniversary Montblanc de la Culture 25th Anniversary Montblanc de la Culture Arts Patronage Award Arts Patronage Montblanc de la Culture 25th Anniversary Arts Patronage Award 1992 25th Anniversary Montblanc de la Culture Arts Patronage Award 2016 Anniversary 2016 CONTENT MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD 25th Anniversary — Preface 04 / 05 The Montblanc de la Culture Arts Patronage Award 06 / 09 Red Carpet Moments 10 / 11 25 YEARS OF PATRONAGE Patron of Arts — 2016 Peggy Guggenheim 12 / 23 2015 Luciano Pavarotti 24 / 33 2014 Henry E. Steinway 34 / 43 2013 Ludovico Sforza – Duke of Milan 44 / 53 2012 Joseph II 54 / 63 2011 Gaius Maecenas 64 / 73 2010 Elizabeth I 74 / 83 2009 Max von Oppenheim 84 / 93 2 2008 François I 94 / 103 3 2007 Alexander von Humboldt 104 / 113 2006 Sir Henry Tate 114 / 123 2005 Pope Julius II 124 / 133 2004 J. Pierpont Morgan 134 / 143 2003 Nicolaus Copernicus 144 / 153 2002 Andrew Carnegie 154 / 163 2001 Marquise de Pompadour 164 / 173 2000 Karl der Grosse, Hommage à Charlemagne 174 / 183 1999 Friedrich II the Great 184 / 193 1998 Alexander the Great 194 / 203 1997 Peter I the Great and Catherine II the Great 204 / 217 1996 Semiramis 218 / 227 1995 The Prince Regent 228 / 235 1994 Louis XIV 236 / 243 1993 Octavian 244 / 251 1992 Lorenzo de Medici 252 / 259 IMPRINT — Imprint 260 / 264 Content Anniversary Preface 2016 This year marks the 25th anniversary of the Montblanc Cultural Foundation: an occasion to acknowledge considerable achievements, while recognising the challenges that lie ahead. Since its inception in 1992, through its various yet interrelated programmes, the Foundation continues to appreciate the significant role that art can play in instigating key shifts, and at times, ruptures, in our perception of and engagement with the cultural, social and political conditions of our times. -
Cultural Development and the Arts Strategy 2018-2022
City of Rockingham Cultural Development and the Arts Strategy 2018-2022 Division Community Development Team Community Capacity Building Created By Manager Community Capacity Building Updated July 2018 HPE No: D17/139930 Alternative Formats This publication is available in alternative formats on request from the City of Rockingham on 9528 0333 or at [email protected]. Community Engagement ☒ Arts, Education and Libraries ☐ New Infrastructure Projects ☐ Coastal and Marine Environment ☐ Planning and Development ☒ Community Development ☐ Roads and Footpaths ☒ Community Events ☐ Seniors Facilities and Activities ☐ Community Safety ☐ Sporting Clubs and Facilities ☐ Disability Access and Inclusion ☐ Strategic Community Planning ☐ Environmental Interests ☐ Tenders ☐ Grants ☐ Volunteering ☐ Multicultural Interests ☐ Waste and Recycling ☒ New Community Plan Strategies ☐ Youth Cultural Development and the Arts Strategy 2018-2022 2 Contents 1. Executive Summary ....................................................................................................... 4 2. Strategic Objective (objective, goal or aspiration). .......................................................... 6 3. Background .................................................................................................................... 7 3.1 International Context ............................................................................................... 7 3.2 National Context .................................................................................................... -
Streetscape Character Study
STREETSCAPE CHARACTER STUDY MANNINGHAM CITY COUNCIL DECEMBER, 2009 TABLE OF CONTENTS PAGE NO. PART A: Background Introduction ............................................................................................................................ 4 Study Aims ............................................................................................................................. 5 Strategic Context .................................................................................................................... 6 Study Methodology ................................................................................................................. 9 Streetscape Character ......................................................................................................... 10 Streetscape Character Typologies ....................................................................................... 14 Implementation ..................................................................................................................... 17 PART B: Individual Streetscape Character Precincts Main Roads ............................................................................................................... 20 Doncaster Hill Precinct .............................................................................................. 40 Historic Precincts ...................................................................................................... 42 Pine Theme Precincts .............................................................................................. -
Bluestone Heritage
City of Whitehorse HeritageHeritage KerbsKerbs ChannelsChannels andand LanewaysLaneways Table of Contents Table of Contents Page No. Executive Summary 2 Scope 2 Historical overview 3 Discussion of significance 6 Heritage bluestone kerb and channeling 9 Heritage brick and bluestone laneways 16 The use of bluestone in new road features 20 Conclusion21 Acknowledgements 22 Bibliography 23 Policy Policy for significant heritage bluestone kerb and channeling, bluestone laneways and brick laneways 24 Appendices Appendix 1 27 Schedule of streets within the City of Whitehorse with bluestone kerb & channeling Appendix 2 30 Schedule of streets within the City of Whitehorse with bluestone laneways or brick laneways Appendix 3 32 Maps showing the location of existing heritage laneways in the City of Whitehorse Appendix 4 36 Maps showing the location of existing heritage The information included in this document is primarily based on a report by kerb and channel in the City of Whitehorse Helen Lardner Conservation & Design Pty Ltd December 2001 Executive Summary Historical Overview Executive Summary Historical Overview This report has been instigated by the City of Whitehorse Heritage Steering Committee This brief historical overview reveals why early methods of road and lane construction are following community concerns that significant early methods of construction are being lost important in the area. through road and lane reconstruction in the Whitehorse area. The concern is particularly The first European settlement in the area was in Box Hill in the 1830s and 1840s.1 The with the loss of historic bluestone kerb and channeling, and bluestone and brick paved first surveys were undertaken in the 1840s.2 The first sale of freehold land in the Parish of laneways. -
1 | Page the EVOLUTION of 'IMMERSIVE
THE EVOLUTION OF ‘IMMERSIVE’ EXHIBTIONS AT THE V&A MUSEUM, LONDON – 2008-2021 By Victoria Broackes and Geoffrey Marsh 1. Introduction GCDN members have expressed interest in the potential of ‘immersive’ exhibitions and related ‘experiences’ as programmatic elements that can meet their ambitions for broadening the base of their audiences. Audience analysis does demonstrate that these ‘experiences’ offer the opportunity of a cost-effective option with the ability to attract larger and more diverse audiences. As a result, there is particular curiosity about whether there is a basic underlying methodology, which can, however, create varied outputs that are faithful to the character and mission of their own districts. A comprehensive study of immersive exhibitions would require a book, so, as a starting point, this review examines the experience of the Victoria & Albert Museum in London – where we and colleagues have curated a series of immersive exhibitions over the last fifteen years. It stresses this was an evolutionary journey where skills, opportunities and confidence built up over time. However, the growth of a (semi-) commercial immersive exhibition market over this period means that GCDN members may have the opportunity of short circuiting such a process by connecting to an increasing number of ‘off the peg’ products, systems and creators in the post-Covid world. Sections 2, 3 and 4 trace the evolution as it happened, not simply as a matter of record but also to illustrate the interplay of opportunities, technology, sponsorship and other factors that impacted what was produced. Those seeking a summary overview may best move directly to Section 5 onwards. -
Kiyooka Ohe Arts Centre 2019-2020 Business Strategy Plan
Kiyooka Ohe Arts Centre 2019-2020 Business Strategy Plan “There is a big difference between being undecided and indecisive. The essence of a strategy is choosing what not to do” – Michael Porter, Harvard Business School KOAC 2019-2020 BUSINESS PLAN 1 Executive Summary The beginning of 2019 finds us on an exciting trajectory, assertively advancing in the development of The Kiyooka Ohe Arts Centre Society of Calgary (KOAC) after a period of internal reorganization, board and management restructuring, and financial and legal reforms. Although critical for the organizational well-being and to our continued success, the restructuring period forced us to postpone many initiatives during 2018 which the KOAC Board had identified as essential strategic programs and priorities. However, this pause also provided us with the chance to diagnose the Society’s current needs and the goals and objectives to achieve greater effectiveness. To that end, we diligently gained input from past and present Board members, volunteers, external advisors, and subject matter experts, potential donors and, especially, from the Springbank community. Their valuable feedback helped us understand how we can improve "en route" to the development of a clearer and more tactical three-year strategic vision of the future to meet our next challenges with a strong, unified, and focused KOAC. This year, in the short term, we plan to embark on a more aggressive implementation of specific programmatic interventions. KOAC is fully committed to supporting artists and stewarding its landscape, to nurturing and celebrating the relationship between art, nature, and people, and to operating a centre of contemplation and learning, focused on contemporary art.