2015 Annual Report & Financial Statements
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Partial List of Institutional Clients
Lord Cultural Resources has completed over 2500 museum planning projects in 57+ countries on 6 continents. North America Austria Turkey Israel Canada Belgium Ukraine Japan Mexico Czech Republic United Kingdom Jordan USA Estonia Korea Africa France Kuwait Egypt Central America Germany Lebanon Morocco Belize Hungary Malaysia Namibia Costa Rica Iceland Philippines Nigeria Guatemala Ireland Qatar South Africa Italy Saudi Arabia The Caribbean Tunisia Aruba Latvia Singapore Bermuda Liechtenstein Asia Taiwan Trinidad & Tobago Luxembourg Azerbaijan Thailand Poland Bahrain United Arab Emirates South America Russia Bangladesh Oceania Brazil Spain Brunei Australia Sweden China Europe New Zealand Andorra Switzerland India CLIENT LIST Delta Museum and Archives, Ladner North America The Haisla Nation, Kitamaat Village Council Kamloops Art Gallery Canada Kitimat Centennial Museum Association Maritime Museum of British Columbia, Victoria Alberta Museum at Campbell River Alberta Culture and Multiculturalism Museum of Northern British Columbia, Alberta College of Art and Design (ACAD), Calgary Prince Rupert Alberta Tourism Nanaimo Centennial Museum and Archives Alberta Foundation for the Arts North Vancouver Museum Art Gallery of Alberta, Edmonton Port Alberni Valley Museum Barr Colony Heritage Cultural Centre, Lloydminster Prince George Art Gallery Boreal Centre for Bird Conservation, Slave Lake National Historic Site, Port Alberni Canada West Military Museums, Calgary R.B. McLean Lumber Co. Canadian Pacific Railway, Calgary Richmond Olympic Experience -
Press Release
Richard Patterson 19 April – 1 June 2013 Timothy Taylor Gallery is pleased to announce its third exhibition with the British artist Richard Patterson. One of the YBAs to emerge in the late 1980s, and a participant in both the Freeze and Sensation exhibitions which helped to define a generation, Pattersons work has only been seen occasionally in the UK since his move to the US, and this survey exhibition gives a welcome overview of the past 15 years of painting, by this most intriguing and thoughtful of artists. Pattersons compositions are often complex multivalent constructs, switching between meticulous realism and deft, rehearsed passages of abstraction sometimes even on the same canvas. As Toby Kamps has observed “Patterson achieves – technically and thematically – a thrilling simultaneity of images and ideas”. His paintings run the gamut of symbolic and cultural referents, from European art history to Japanese trucks, from Dallas Cowboy cheerleaders to Greek myth. Each painting for Patterson is a chance to engage with techniques and effect, but also on a philosophical level to make complex interconnections of meaning, image and making. Aware when starting out as a painter that painting had already been declared dead by critics and theorists alike, Patterson decided to relax and just do what he felt like, which included a new mode of painting which he dubbed hyperabstraction – a combination of abstracted subject matter and hyperrealist style, developed to meet the needs of the emergent digital age. Your Own Personal Jesus, 2011 [1995], is a recent example of hyperabstraction, a revisiting of one of a series of works dedicated to the depiction of a scaled up plastic Motocrosser toy covered in richly coloured oil paint, and a remake of the 1994 work which was destroyed in the Momart fire in 2004. -
Mark Neville (B
Cristea Roberts Gallery Artist Biography 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com Mark Neville (b. 1966) Mark Neville works at the intersection of art and documentary. Brugge Centraal, Arentshuis, Belgium His socially driven practice includes, film, photography and 2009 Running Time: Artists Film in Scotland, Dean Gallery, targeted book dissemination. He often refers to his work as Edinburgh, UK collaborative and he consistently looks to subvert the traditional 2008 Fancy Pictures, Mount Stuart, Isle of Bute, UK role of social documentary practice, seeking to find new ways Parrworld (touring exhibition), Haus Der Kunst, Munich, to empower the position of its subject over that of the author. In Germany 2011 Neville was commissioned as an official war artist by the Intermezzo, Kunstmuseum, Bern, Switzerland Imperial War Museum, and spent time with the 16 Air Assault 2006 Port Glasgow Book Project (travelling exhibition), Brigade in Helmand Province. The photos and films from this Holden Gallery, Manchester, UK project were shown at the Imperial War Museum in 2014. Neville Animal Architecture, Hunterian Museum, Glasgow, has also been commissioned by the New York Times Magazine UK to document the stark differences in London society and The Jump Films Installation, Street Level Gallery, subcultures. This broadened into a project that looked at income Glasgow, UK inequality throughout the UK and US. The Moth and the Lamp, Kuntshalle, Bern, Switzerland Local Stories, Modern Art Oxford, -
With the London Pass Entry Fee Entry Fee TOP ATTRACTIONS Tower of London + Fast Track Entrance £22.00 £10.00 Westminster Abbey £20.00 £9.00
London Pass Prices correct at 01.04.15 Attraction Entrance Prices FREE ENTRY to the following attractions Normal Adult Normal Child with the London Pass Entry fee Entry fee TOP ATTRACTIONS Tower of London + Fast track entrance £22.00 £10.00 Westminster Abbey £20.00 £9.00 NEW 1 Day Hop on Hop off Bus tour (From 1st October 2015) £22.00 £10.00 Windsor Castle + Fast track entrance £19.20 £11.30 Kensington Palace and The Orangery + Fast track entrance £15.90 FREE Hampton Court Palace + Fast track entrance £17.50 £8.75 17.10 ZSL London Zoo + Fast track entrance £24.30 Under 3 FREE Shakespeare's Globe Theatre Tour & Exhibition £13.50 £8.00 Churchill War Rooms £16.35 £8.15 London Bridge Experience and London Tombs + Fast track entrance £24.00 £18.00 Thames River Cruise £18.00 £9.00 HISTORIC BUILDINGS Tower Bridge Exhibition £9.00 £3.90 Royal Mews £9.00 £5.40 Royal Albert Hall - guided tour £12.25 £5.25 Royal Observatory £7.70 £3.60 Monument £4.00 £2.00 Banqueting House £6.00 FREE Jewel Tower £4.20 £2.50 Wellington Arch £4.30 £2.60 Apsley House £8.30 £5.00 Benjamin Franklin House £7.00 FREE Eltham Palace £13.00 £7.80 The Wernher Collection at Ranger's house £7.20 £4.30 MUSEUMS Imperial War Museum £5.00 £5.00 The London Transport Museum £16.00 FREE Household Cavalry Museum £7.00 £5.00 Charles Dickens Museum £8.00 £4.00 London Motor Museum £30.00 £20.00 Guards Museum £6.00 FREE Cartoon Museum £7.00 FREE Foundling Museum £7.50 FREE Science Museum - IMAX Theatre £11.00 £9.00 Handel House Museum £6.50 £2.00 London Canal Museum £4.00 £2.00 Royal Air -
'Ladies of Quality and Distinction', Foundling Museum, 21 September
‘Ladies of Quality and Distinction’, Foundling Museum, 21 September 2018–20 January 2019 Reviewed by Maria Alambritis (Birkbeck, University of London, and National Gallery, UK) The absence of a single man in a gallery hung with portraits of influential historic figures is an enlivening, if slightly surreal, experience. While the lives and painted likenesses of history’s ‘great men’ still dominate the narratives of many of London’s public and cultural institutions, the Foundling Museum presents an exemplary demonstration of how much we have yet to uncover. Following a successful campaign by Art Happens, the Art Fund’s crowdfunding platform, this exhibition brings to light for the first time the women who were intrinsic to the establishment and running of the Foundling Hospital, illuminating the stories and contributions of women who operated at every level of society to ensure the Hospital’s success. Hung in the place of the male governors who are usually to be found in the Foundling Museum’s Picture Gallery are now twenty-one portraits of women, all of whom were crucial to the establishment of the Foundling Hospital. In a re-examination of their 300-year history, the museum has brought to light the influential role of women such as Charlotte Seymour, Duchess of Somerset (1693—1773), and Dorothy Boyle, Countess of Burlington (1699—1758), who signed Thomas Coram’s (c. 1668— 1751) first petition calling for the founding of a hospital for the care of London’s orphaned and destitute infants. Coram, a seaman, was horrified at the number of children left destitute and abandoned on London’s streets, exceeding 1000 infants a year. -
A MUSICAL EXPLORATION in LONDON Instructor: Sharon J
SYLLABUS FROM HANDEL TO HENDRIX: A MUSICAL EXPLORATION IN LONDON Instructor: Sharon J. Paul Language of Instruction: English UO Credits: 6 Contact Hours: 60 Total Hours of Student Engagement (THSE) in all course activities: 180 LONDON, ENGLAND COURSE DESCRIPTION London’s vibrant cultural life and history provide the setting for an immersive three-week course exploring music performed throughout this world capitol. From the serenity of Evensong to the raucousness of a West End musical, students will engage with a wide variety of musical genres throughout the course. Students will learn to listen critically and analytically to music originating from a wide variety of historical eras and born from diverse circumstances. An interdisciplinary approach will encourage students to consider music in relation to the art and culture surrounding its creation. Designed to challenge music majors and non-majors, students will attend concerts, visit historically significant venues, and participate in highly interactive class sessions. COURSE OBJECTIVES Students who successfully complete this course will: • Be able to listen analytically and critically to a wide variety of music genres • Be able to evaluate the context around which musical works were created • Have gained a deeper appreciation for music from less familiar times or traditions • Understand the important role music has played in London’s cultural history • Be able to compare and contrast musical styles from varied historical periods • Have increased familiarity with significant musical repertoire from the 16th century to the current day INSTRUCTIONAL METHODOLOGY • Lecture • Discussions • Student presentations • Concert Reports • Journal Writing • Sample Readings o Burrow, Donald. Handel. Oxford: Oxford University Press, 2012. -
The Destruction of Art
1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York. -
Dance & Museums Working Together Symposium Report
Dance & Museums Working Together Symposium Symposium Report - Content, Analysis & Recommendations January 2015 Author: Emma McFarland, Consultant, eMc arts E: [email protected] arts eMc TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE Contents Section 1 : About the Symposium 4 Introduction 4 1. Overview 5 Section 2 : Symposium Content 7 2. Presentations & Case Studies 7 3. Feedback from Discussion Groups 14 4. Enquiry Groups 4.1 Topic 1 – Schools & the Curriculum 14 4.2 Topic 2 – Responding Creatively to Objects 16 4.3 Topic 3 – Audience Engagement and Response 20 4.4 Topic 4 – Dance as Object – Live Curation and Archiving 23 5. Panel Q & A 25 Section 3 : Rationale for Dance and Museums Working Together 28 6. Opportunities and Benefits of Museum – Dance Collaboration 6.1 New and innovative ways of interpreting objects / artefacts, collections 28 and exhibitions 6.2 Developing new audiences / visitors 28 6.3 Collaboration as a way of informing the development of dance performance 29 6.4 Providing rich, new artistic stimuli 29 6.5 Encouraging reflections on dance’s own history 30 6.6 Offers new approaches to museum learning and participatory work 30 6.7 Organisational benefits 30 Section 4 : Considerations around Museums – Dance Collaboration 31 7. Potential Issues and Challenges of Museums – Dance Collaboration 7.1 Need for deeply rooted partnerships 31 7.2 The need for trust....and risk 31 7.3 The role of the artist 32 7.4 Purpose, priorities and planning 33 7.5 Audiences and visitors 33 7.6 Practical considerations 34 7.7 Evaluation of ‘pop-up’ dance activity in museums 34 Section 5 : Where Next? 36 8. -
Download an Application Form
THE FOUNDLING MUSEUM Patrons foundlingmuseum.org.uk/patrons PATRON Single membership, for Patron only: n Free and unlimited entry to the Museum and exhibitions n 25% discount in the Museum Shop* n Invitation to each exhibition private view n Programme of dedicated and exclusive Patrons events n Patrons newsletters n Tailored invitations and news according to your personal interests n Acknowledgement on the Museum’s website, donor board and elsewhere as appropriate * with the exception of some special offers If you are under 35, you can receive the above benefits under our Young Patron scheme. PATRON PLUS All benefits of Patron membership plus a guest. Perfect for couples or friends who would like to make a saving while supporting the Museum. To find out more please call the Development team on +44 (0)20 7841 3608 “A seaman, a composer and a painter, and the moving story of the charity they started 270 years ago. It is a recipe of art and care, which still looks after kids today. Coram, Handel, Hogarth, what’s not to love?” Grayson Perry RA, artist and 2010 Hogarth Fellow HOW TO PAY Cheque (enclosed, made payable to ‘The Foundling Museum’) Credit/Debit Card Visa Mastercard Maestro Solo Other Card Number: Start Date: Expiry Date: Issue Number: Security Code: If you would prefer to pay by telephone please call +44 (0)20 7841 3608 Standing Order Instruction to your bank or building society to pay by standing order Name(s) of Account Holder: Bank/Building Society Account Number: Address of Bank/Building Society: Postcode: Branch Sort Code: Please pay The Foundling Museum on: / / and annually until further notice, the sum of £ (amount in words): Signature: Date: Beneficiary Details Bank: CAF Bank Bank Address: Kings Hill Avenue, Kings Hill, West Malling, Kent ME19 4TA Sort Code: 40-52-40 / Account: The Foundling Museum / Account Number: 00006710 Membership/Reference Number (office use only): GIFT AID Whilst the Museum is unable to claim Gift Aid on membership, it is able to on any additional donations made. -
Monday 19 November
Saturday 17 November Sunday 18 November Monday 19 November Welcome Reception and Registration 18:45 - 21:30 08:30 Registration and Coffee 08:45-09:30 Registration and Breakfast Victoria & Albert Museum Kindly sponsored by Martinspeed Ltd Opening Introduction Opening Introduction 09:15-09:45 Aisha Burtenshaw (UKRG, United Kingdom), Alyson Rolington (Tate, United Kingdom) 09:30-09:45 Alyson Rolington (Tate, United Kingdom) Room: Fleming Room: Fleming Keynote Session Keynote Session Museums as Drivers for Change - New Professions, New Economy Sir Nicholas Serota (Arts Council England, United Kingdom) 09:45-10:15 09:45-10:15 Dr Susanna Pettersson (National Museum, Sweden) Room: Fleming Room: Fleming Kindly sponsored by Arterìa Kindly sponsored by APICE Scrl Room: Fleming Windsor Mountbatten Whittle Room: Fleming Windsor Mountbatten Whittle From Evolution to Revolution [A The Road from Los Angeles to Once in a Lifetime: Museum We’re in This Together: New Ventures for the Centre Transporting Colossal Statues in Play in Two Acts] - Act 1 Dhahran: LACMA's First Projects Old and New - From Registration in Post-Quake Pompidou: Platforms for Ancient Times and Today Traveling Exhibition in Saudi Burlington Gardens to Ellsworth Christchurch Experimental Displays and Kate Parsons (Tate, United Arabia Kelly's Austin. Reshaping the Collection, the Marco Rossani (Museo Egizio, Italy) Kingdom), Nickos Gogolos (Victoria Gina Irish (Christchurch Art Gallery example of Kanal Pompidou in and Albert Museum, United Paul Williamson (Constantine Ltd, Idoya Beitia -
GIGS I VISUAL ARTS I Eventss I FOOD on Staffordshirewhatson.Co.Uk
Staffordshire Cover March 2019.qxp_Staffordshire Cover 21/02/2019 14:08 Page 1 RHOD GILBERT AT Your FREE essential entertainment guide for the Midlands THE REGENT THEATRE STAFFORDSHIRE WHAT’S ON MARCH 2019 MARCH ON WHAT’S STAFFORDSHIRE Staffordshire ISSUE 399 MARCH 2019 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On staffordshirewhatson.co.uk PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART inside: Yourthe 16-pagelist week by week listings guide THE 39 STEPS John Buchan’s classic spy thriller at the New Vic Theatre TWITTER: @WHATSONSTAFFS TWITTER: @WHATSONSTAFFS SETH LAKEMAN takes The Well Worn Path to the Midlands... FACEBOOK: @STAFFORDSHIREWHATSON FACEBOOK: SPRINGTIME BABIES check out some new arrivals at The Potteries Museum... STAFFORDSHIREWHATSON.CO.UK Stafford Gatehouse Full (NEW) March 2019.qxp_Layout 1 20/02/2019 15:48 Page 1 DINOSAUR WORLD LIVE THE CHICAGO BLUES BROTHERS TUES 19 MARCH @ 10.30AM & 4.30PM SAT 23 MARCH @ 7.30PM THAT’LL BE THE DAY RUSSELL WATSON THE OPERA BOYS THURS 7 & FRI 8 MARCH @ 7.30PM WED 20 MARCH @ 7.30PM THURS 11 APRIL @ 7.30PM ROY ORBISON & THE TRAVELLING THE MERSEY BEATLES WILBURYS EXPERIENCE STARS ARE COMING OUT TONIGHT SAT 8 MARCH @ 8.00PM FRI 22 MARCH @ 7.30PM SAT 27 APRIL @ 7.30PM MARK STEEL THURS 14 MARCH @ 8.00PM SWEET CAROLINE FRI 15 MARCH @ 8.00PM CHECK THE WEBSITE FOR FULL LISTINGS BOX OFFICE 01785 619080 BOOK ONLINE www.staffordgatehousetheatre.co.uk EASTGATE STREET, STAFFORD, ST16 2 LT Contents March Wolves/Shrops/Staffs.qxp_Layout 1 20/02/2019 15:28 Page 2 March 2019 Contents War Horse - ‘the theatrical event of the decade’ returns to the Midlands.. -
Annual Report 2019/2020 Contents II President’S Foreword
Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic.