Open Call: New Growth on Exhibition Road the Commission
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Press Release 13 October 2019
Under embargo until 13 October 2019, 10am GMT Press Release 13 October 2019 Five shortlisted artists announced for the 8th edition of the Max Mara Art Prize for Women 2019 – 2021 The Whitechapel Gallery, Collezione Maramotti and Max Mara are delighted to announce the five shortlisted artists for the 8th edition of the Max Mara Art Prize for Women: Allison Katz, Katie Schwab, Tai Shani, Emma Talbot and Hanna Tuulikki. This weekend the artists travelled to Collezione Maramotti in Reggio Emilia, Italy, for the announcement, and to celebrate the opening of the major art work Che si può fare, by the seventh winner of the prize, Helen Cammock. Che si può fare tours from the Whitechapel Gallery where it was unveiled this summer. The artists shortlisted for the 2019 - 2021 iteration of the prize were selected by a judging panel chaired by Iwona Blazwick OBE, Director of the Whitechapel Gallery, joined by gallerist Florence Ingleby, artist Chantal Joffe, collector Fatima Maleki and art critic Hettie Judah. The Max Mara Art Prize for Women was established by Whitechapel Gallery in collaboration with the Max Mara Fashion Group in 2005. Its aim is to promote emerging female artists based in the UK, enabling them to develop their potential; and to inspire new artistic perspectives on 21st century Italy. The winning artist, announced in early 2020, is awarded a bespoke six-month artist residency in locations around Italy after presenting the judges with a proposal for a new body of work. The resulting work is premiered at the Whitechapel Gallery and travels to the Collezione Maramotti in Reggio Emilia, Italy, in 2021. -
Grayson Perry
GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art -
THE PLATFORM: VOLUME 4, ISSUE 1 October 2004
THE PLATFORM: VOLUME 4, ISSUE 1 October 2004 The Platform is published by AEA Consulting, a company that specializes in strategic and operational planning for the cultural sector. The Platform promotes discussion and understanding of the critical factors affecting cultural planning and the successful management of cultural organizations. Comments or contributions welcomed by Alexis Frasz, Editor, at [email protected]. Back issues available at www.aeaconsulting.com . If you don’t wish to receive The Platform in the future, send an e-mail to this address saying ‘not interested.’ ARTICLE China’s New Cultural Revolution By Elizabeth Casale China’s cultural sector is growing rapidly in size and scope and sophistication in parallel with that country’s staggering pace of economic development. There has been much talk in the arts community about the Chinese government’s intention to build 1,000 new museums across the country by 2015. While the number may seem exaggerated, it is not. The State Administration of Cultural Heritage, the government bureau in charge of China’s museums nationwide, indeed has announced such a plan, adding that this unprecedented state investment in cultural infrastructure will, among other things, ensure that every mid-sized and large city in the country has at least one museum. How officials arrived at the fantastic-sounding figure of 1,000 starts to become clearer once one internalizes the fact that China currently has approximately100 urban areas with a population of 1 million or more. Beijing alone is planning to add at least 32 new museums by 2008. Already underway is a $220 million expansion of the National Museum of China that will double the exhibition spaces, and, in a move that reflects a new emphasis on visitor services and earned income generation, complement them with a museum shop, café and cinema. -
THE EXHIBITION ROAD OPENING Boris Johnson Marks the Offi Cial Unveiling Ceremony: Pages 5 and 6
“Keep the Cat Free” ISSUE 1509 FELIX 03.02.12 The student voice of Imperial College London since 1949 THE EXHIBITION ROAD OPENING Boris Johnson marks the offi cial unveiling ceremony: Pages 5 and 6 Fewer COMMENT students ACADEMIC ANGER apply to university OVERJOURNALS Imperial suffers 0.1% THOUSANDS TO REFUSE WORK RELATED TO PUBLISHER Controversial decrease from 2011 OVER PROFIT-MAKING TACTICS material on drugs Alexander Karapetian to 2012 Page 12 Alex Nowbar PAGE 3 There has been a fall in university appli- cations for 2012 entry, Universities and Colleges Admissions Service (UCAS) ARTS statistics have revealed. Referred to as a “headline drop of 7.4% in applicants” by UCAS Chief Executive Mary Curnock Cook, the newly published data includes all applications that met the 15 January equal-consideration deadline. Imperial College received 14,375 applications for 2012 entry, down from 14,397 for 2011, a 0.1% decrease. Increased fees appear to have taken a toll. Towards the end of 2011 preliminary fi gures had indicated a 12.9% drop in To Bee or not to Bee university applications in comparison to the same time last year. Less marked but in Soho still signifi cant, 7.4% fewer applications were received for this cycle. Consider- Page 18 ing applications from England UCAS describes the true fi gures: “In England application rates for 18 year olds have decreased by around one percentage point in 2012 compared to a trend of in- creases of around one per cent annually HANGMAN ...Continued on Page 3 TEDx COMES TO IMPERIAL: Hangman gets a renovation PAGE 4 Page 39 2 Friday 03 february 2012 FELIX HIGHLIGHTS What’s on PICK OF THE WEEK CLASSIFIEDS This week at ICU Cinema Fashion for men. -
Art and Society
Art and Society Module Code 4ELIT007X Module Level 4 Length Session Two, Three Weeks Site Central London Host Course London International Summer Programme Pre-Requisite None Assessment 60% Essay, 40% Presentation Special features This module may include additional costs for museum tickets. Typical visits include the Tate Modern Museum, Victoria and Albert Museum, National Portrait Museum, Museum of London, British Museum, Wallace Collection, Serpentine Galleries, Welcome Collection. Note: These visits are not the same every year and they are subject to change. Summary of module content This module is an introduction to the visual culture of London, including painting, architecture, photography and contemporary media. Students will visit the major art galleries to examine how art works exhibitions and cultural organisations can be understood within wider social contexts. The sessions also include museums and historical sites, such as the British Museum and St Paul’s Cathedral, as well as art galleries. The classes will explore how these institutions reveal the complex cultural identity and history of London. The module develops students’ skills in visual analysis and critical thinking about culture. Learning outcomes By the end of the module the successful student will be able to: x Demonstrate ability to make a visual analysis of works of art x Demonstrate an understanding of visual arts x Demonstrate an understanding of the ways in which historical displays and sites can be related to a political, social or cultural context x Discuss the role of London as a cultural centre x Develop appropriate skills in academic presentation and writing. Course outcomes the module contributes to: Students will be able to demonstrate: NA 14 NB This module does not form part of the BA English Literature and cannot be taken by students on this pathway. -
VISITOR FIGURES 2015 the Grand Totals: Exhibition and Museum Attendance Numbers Worldwide
SPECIAL REPORT VISITOR FIGURES2015 The grand totals: exhibition and museum attendance numbers worldwide VISITOR FIGURES 2015 The grand totals: exhibition and museum attendance numbers worldwide THE DIRECTORS THE ARTISTS They tell us about their unlikely Six artists on the exhibitions blockbusters and surprise flops that made their careers U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXV, NO. 278, APRIL 2016 II THE ART NEWSPAPER SPECIAL REPORT Number 278, April 2016 SPECIAL REPORT VISITOR FIGURES 2015 Exhibition & museum attendance survey JEFF KOONS is the toast of Paris and Bilbao But Taipei tops our annual attendance survey, with a show of works by the 20th-century artist Chen Cheng-po atisse cut-outs in New attracted more than 9,500 visitors a day to Rio de York, Monet land- Janeiro’s Centro Cultural Banco do Brasil. Despite scapes in Tokyo and Brazil’s economic crisis, the deep-pocketed bank’s Picasso paintings in foundation continued to organise high-profile, free Rio de Janeiro were exhibitions. Works by Kandinsky from the State overshadowed in 2015 Russian Museum in St Petersburg also packed the by attendance at nine punters in Brasilia, Rio, São Paulo and Belo Hori- shows organised by the zonte; more than one million people saw the show National Palace Museum in Taipei. The eclectic on its Brazilian tour. Mgroup of exhibitions topped our annual survey Bernard Arnault’s new Fondation Louis Vuitton despite the fact that the Taiwanese national muse- used its ample resources to organise a loan show um’s total attendance fell slightly during its 90th that any public museum would envy. -
University of Huddersfield Repository
University of Huddersfield Repository Walker, Martyn Solid and practical education within reach of the humblest means’: the growth and development of the Yorkshire Union of Mechanics’ Institutes 1838–1891 Original Citation Walker, Martyn (2010) Solid and practical education within reach of the humblest means’: the growth and development of the Yorkshire Union of Mechanics’ Institutes 1838–1891. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/9087/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ ‘A SOLID AND PRACTICAL EDUCATION WITHIN REACH OF THE HUMBLEST MEANS’: THE GROWTH AND DEVELOPMENT OF THE YORKSHIRE UNION OF MECHANICS’ INSTITUTES 1838–1891 MARTYN AUSTIN WALKER A thesis -
Chelsea Space for IMMEDIATE RELEASE
PRESS RELEASE Chelsea Space FOR IMMEDIATE RELEASE ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE Beatrice Gibson, Alison Knowles, Ghislaine Leung, Annea Lockwood, Claire Potter, Charlotte Prodger, Carolee Schneemann, Tai Shani, Mieko Shiomi Private view: Tuesday 24 April, 6-8.30pm Exhibition continues: 25 April – 25 May 2018 Touching, performance with microphone and script fragments, 2016. Claire Potter. Image courtesy of the artist. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE is a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events programme of historical and contemporary works. Newly commissioned and existing works will intersect with an array of archival material located in Carolee Schneemann's Parts of a Body House [1968-1972], from which the exhibition title derives, and Alison Knowles and Annea Lockwood's score anthology Womens Work [1975- 8]. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text. The exhibition seeks to highlight these significant trans- historical sensibilities, whilst acknowledging their disjuncts. Each artist brings a particular method, procedure or interrogation to the act of writing or performing text, blurring descriptions such as text, score, work, performance, version and iteration. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE’s exhibition display is accompanied by a day of live performance, a workshop, a publication and an affiliated symposium to take place in May 2018. Curated by Karen Di Franco and Irene Revell. Chelsea Space Chelsea College of Arts 16 John Islip Street, London, SW1P 4JU www.chelseaspace.org PRESS RELEASE Chelsea Space FOR IMMEDIATE RELEASE Parts of a Body House is a score, a document and a piece of speculative fiction, written by Carolee Schneemann between 1957-68. -
Exhibition Road Cultural Group (2123).Pdf
To: Sadiq Khan, Mayor of London New London Plan GLA City Hall London Plan Team Post Point 18 London SE1 2AA We welcome the opportunity to comment on the New London Plan and would be grateful if you could confirm receipt of this reponse. About us: The World’s First Planned Cultural Quarter Shared history and mission The Exhibition Road Cultural Group is a partnership of 18 leading cultural and educational organisations in and around Exhibition Road, South Kensington. Together these organisations comprise the world’s first planned cultural quarter, half of which falls within the Knightsbridge Neighbourhood Area. Created from the legacy of the Great Exhibition of 1851, and affectionately known as “Albertopolis”, this cultural quarter was established by the Royal Commission for the Great Exhibition of 1851 for the purpose of “increasing the means of industrial education and extending the influence of science and art upon productive industry”. Across its estate of 87 acres in South Kensington, the Royal Commission established three of the world’s most popular museums: The Natural History Museum, Victoria and Albert Museum, Science Museum and three colleges dedicated to arts, science and design: Imperial College London, the Royal College of Music and Royal College of Art and the most famous concert venue in the world, the Grade l listed Royal Albert Hall which was created originally as the Central Hall of Arts and Sciences. Over past century and a half, these institutions have been joined by other organisations that share the mission of promoting innovation and learning through the arts and science, including the Goethe Institut, Royal Geographical Society, Institute Français and the Ismaili Centre. -
Visitor Figures 2016 Exhibition & Museum Attendance Survey
2 THE ART NEWSPAPER REVIEW Number 289, April 2017 SPECIAL REPORT VISITOR FIGURES 2016 EXHIBITION & MUSEUM ATTENDANCE SURVEY Christo helps 1.2 million people to walk on water While the Whitney breaks the hold of New York’s big two hristo’s triumph in Italy, a space in New York to five artists, including Steve Children admiring Louise Bourgeois at Tate Modern: ravenous appetite for French art McQueen, Lucy Dodd and Michael Heizer, for the institution has hung on to its spot as the world’s abroad and a shake-up in New several weeks at a time. On average, more than most popular Modern and contemporary art museum York are the big stories of The 4,000 visitors saw each of the five presentations, Art Newspaper’s 2016 attend- roughly equivalent to the number that visited the FEMALE ARTISTS DRAW BIG CROWDS ance survey. museum’s Frank Stella retrospective. Christo’s Floating Piers (2016) Despite the Whitney’s rapid rise, MoMA and Female artists feature prominently in our survey. on Lake Iseo—the New York-based artist’s first the Met continue to lead the league in New York. At the Guggenheim Bilbao, Louise Bourgeois’s Cells Coutdoor installation since 2005—was the world’s MoMA remains at the top, thanks to staffers who attracted around 4,600 visitors a day. The Japanese most-visited work of art last year. Christo erected performed each afternoon over a long weekend artist Yayoi Kusama, who in 2014 proved a phenom- 3km of fabric-covered pontoons between an island last October in a production directed by the enon in South America and Asia, continued to pull and the shore and invited the public to walk on French choreographer Jérôme Bel. -
Ifield Road, SW10 £1,725,000 Leasehold
Ifield Road, SW10 £1,725,000 Leasehold Ifield Road, SW10 A delightful four-bedroom, period maisonette boasting neutral decor with bright and spacious rooms throughout. Further comprising kitchen, double- reception, guest wc, two en-suites and family bathroom. Ifield Road is superbly positioned on a charming residential road and ideally situated moments from trendy Fulham Road with a wide selection of restaurants, cafes and multi screened cinema, while King's Road is nearby for more extensive shopping. Transport is provided by nearby Earl’s Court, West Brompton and Fulham Broadway stations. Benefitting from close proximity to a host of top performing schools, including Bousfield primary, The London Oratory and Servite RC. Offered with no onward chain. Lease: 125 years Current Service/Maintenance Charge: To be advised - £ per annum Ground Rent: To be advised - £ per annum EPC Rating: E Current: 40 Potential: 48 £1,725,000 Leasehold 020 8348 5515 [email protected] An overview of Kensington & Chelsea The Royal Borough of Kensington and Chelsea is a West London borough of Royal Borough status. It is an urban area, one of the most densely populated in the United Kingdom. The borough is immediately to the west of the City of Westminster and to the east of Hammersmith & Fulham. It contains major museums and universities in "Albertopolis", department stores such as Harrods, Peter Jones and Harvey Nichols and embassies in Belgravia, Knightsbridge and Kensington Gardens, and it is home to the Notting Hill Carnival, Europe's largest. It contains many of the most expensive residential districts in London and even in the world. -
In South Kensington, C. 1850-1900
JEWELS OF THE NATURAL HISTORY MUSEUM: GENDERED AESTHETICS IN SOUTH KENSINGTON, C. 1850-1900 PANDORA KATHLEEN CRUISE SYPEREK PH.D. HISTORY OF ART UCL 2 I, PANDORA KATHLEEN CRUISE SYPEREK confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ______________________________________________ 3 ABSTRACT Several collections of brilliant objects were put on display following the opening of the British Museum (Natural History) in South Kensington in 1881. These objects resemble jewels both in their exquisite lustre and in their hybrid status between nature and culture, science and art. This thesis asks how these jewel-like hybrids – including shiny preserved beetles, iridescent taxidermised hummingbirds, translucent glass jellyfish as well as crystals and minerals themselves – functioned outside of normative gender expectations of Victorian museums and scientific culture. Such displays’ dazzling spectacles refract the linear expectations of earlier natural history taxonomies and confound the narrative of evolutionary habitat dioramas. As such, they challenge the hierarchies underlying both orders and their implications for gender, race and class. Objects on display are compared with relevant cultural phenomena including museum architecture, natural history illustration, literature, commercial display, decorative art and dress, and evaluated in light of issues such as transgressive animal sexualities, the performativity of objects, technologies of visualisation and contemporary aesthetic and evolutionary theory. Feminist theory in the history of science and new materialist philosophy by Donna Haraway, Elizabeth Grosz, Karen Barad and Rosi Braidotti inform analysis into how objects on display complicate nature/culture binaries in the museum of natural history.