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Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
Contemporary Art Society Report 1942-43
TH E C O N TEM P O R A R Y A R T SO CIETY FOR TH E A CQU I SI TION OF WOR KS OF MOD ERN AR T FOR L OAN OR G I FT TO PU BL I C GALL ER I E S President L O R D H OWA R D D E W A L D E N Chairman SIR E DWA R D M A RSH, K .C .V.O ., C.B ., C.M .G . Treasurer TH E H O N. J AS P E R R I D LE Y 440 Strand, W.C.2 Hon. Secretary L O R D IV O R S P E N C E R -C H U R C HI L L g Dilke Street, S.W.3 Committee S1R EDWARD MA RSH , K .c.v.o., c .B ., c .M.G. ( Chairman) The Earl of Crawford and Balcarres Lord Keynes, c.B. Major Sir Muirhead Bone, R.M. T. E. Lowinsky Mrs. Cazalet Keir, M.P. Ernest Marsh Sir Kenneth Clark, K.C.B. The Hon. Jasper Ridley Samuel Courtauld J. K. M. Rothenstein Sir A. M. Daniel, K.B.E . The Earl of Sandwich Campbell Dodgson, C.B.E. Lord Ivor Spencer-Churchill _ A. M. Hind, o.B.E. C. L. Stocks, c.B. Assistant Secretary: R OB I N I R O NSIDE Speech by the Chairman at the Thirteenth Ordinary General Meeting of the C.A.S. held at the Tate Gallery on 21 April 1944 Ladies and Gentlemen, I find it a pleasing reflection that we are able to meet here on this annual occasion for the fifth time since the war began, with at least a part of our minds free to consider a sphere of human activity which is concerned neither with war nor with politics. -
The Haunting of LS Lowry
Societies 2013, 3, 332–347; doi:10.3390/soc3040332 OPEN ACCESS societies ISSN 2075-4698 www.mdpi.com/journal/societies Article The Haunting of L.S. Lowry: Class, Mass Spectatorship and the Image at The Lowry, Salford, UK Zoë Thompson School of Cultural Studies and Humanities, Leeds Metropolitan University, Broadcasting Place A214, Woodhouse Lane, Leeds, LS2 9EN, UK; E-Mail: [email protected]; Tel.: +44-0113-812-5721 Received: 4 September 2013; in revised form: 16 October 2013 / Accepted: 17 October 2013 / Published: 18 October 2013 Abstract: In a series of momentary encounters with the surface details of The Lowry Centre, a cultural venue located in Salford, Greater Manchester, UK, this article considers the fate of the image evoked by the centre’s production and staging of cultural experience. Benjamin’s notion of ‘aura’ as inimical to transformations of art and cultural spectatorship is explored, alongside its fatal incarnation in Baudrillard’s concept of ‘simulation’. L.S. Lowry, I argue, occupies the space as a medium: both as a central figure of transmission of the centre’s narrative of inclusivity through cultural regeneration, and as one who communes with phantoms: remainders of the working-class life and culture that once occupied this locale. Through an exploration of various installations there in his name, Lowry is configured as a ‘destructive character’, who, by making possible an alternative route through its spaces, refuses to allow The Lowry Centre to insulate itself from its locale and the debt it owes to its past. Keywords: aura; simulation; The Lowry; cultural regeneration; haunting; class I have been called a painter of Manchester workpeople. -
Untitled, 1959
92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Untitled, 1959 P745 Framed size: Height: 31 in (79 cm) Width: 25 in (63.5 cm) £ 22000 DESCRIPTION Oil and charcoal on paper and board Signed and dated 'Blow 59' on the reverse ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam). -
Film Producer Buys Seacole Bust for 101 Times the Estimate
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2454 | antiquestradegazette.com | 15 August 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Face coverings Film producer buys Seacole now mandatory at auction rooms bust for 101 times the estimate across England A terracotta sculpture of Mary Seacole by Alex Capon (1805-81) sparked fierce competition at Dominic Winter. Wearing a face covering when Bidding at the South Cerney auction house attending an auction house in England began with 12 phones competing for the has now become mandatory. sculpture of Seacole, who nursed soldiers The updated guidance also applies to visitors to galleries and museums. during the Crimean War. Since July 24, face coverings have been It eventually came down to a final contest compulsory when on public transport as involving underbidder Art Aid and film well as in supermarkets and shops including producer Billy Peterson of Racing Green dealers’ premises and antique centres. The government announced that this Pictures, which is currently filming a would be extended in England from August biopic on Seacole’s life. 8 to include other indoor spaces such as Peterson will use the bust cinemas, theatres and places of worship. as a prop in the film. It will Auction houses also appear on this list. then be donated to the The measures, brought in by law, apply Mary Seacole Trust Continued on page 5 and be on view at the Florence Nightingale Museum. -
Painting, 1960
92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Painting, 1960 P825 Height: 51 ¼ in (130cm) Width: 57 in (145cm) PROVENANCE Gimpel Fils £ 75000 EXHIBITION North Carolina Museum of Art, September 1964 DESCRIPTION Oil and sand on board Signed and dated verso S Blow 1960 ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam). -
Newcastle Camera Club Online Meeting 11/01/2021
Newcastle Camera Club Online Meeting 11/01/2021 ‘Bring photographs which you like or are memorable and perhaps raised your interest in photography’ (Ctrl Click the hyperlinks in blue to see pages on your browser) 1. David Seaton – showed us his own work photographing air force jets which were components of his LRPS and ARPS panels and explained how he got hooked to this genre of photography 2. Andrew Wood – with memories of the moon landing and role of Kodak film 3. Jeff Poole showed a couple of images from a book ’Remembering Cheetahs’ by Wildlife Photographers Union part of a series of fundraising books for conservation https://rememberingwildlife.com/remembering-cheetahs/ 4. Will Ikins presented a postcard from Mallorca (Caves of Drach I think) with memories of happy times and holidays 5. Tony Capper presented some famous Hollywood portraits and explored the history of glamour photography with famous photographers and how and why the Hollywood styles and techniques developed. 6. Lesley Moran brought an image of her treasured print ‘El Capitan’ by Ansel Adams which explains her love of landscape photography. To see more of his photos https://shop.anseladams.com/collections/original-photographs-by-ansel-adams 7. Juliet Collins presented a photograph by Saul Leiter – perhaps a less well known American street photographer (and painter), now in his 80’s, famous for compressing images by using long focal length lenses. Juliet felt that his photographs displayed the painter’s eye with use of colour and composition. I found some of his interesting quotes – Juliet ‘Perfection is not something I admire. -
Curriculum Vitae
Curriculum Vitae Roland Piché ARCA FRBS Born 1938, London Art Education 1956-60 Hornsey College of Art Worked with sculptor Gaudia in Canada 1960-64 Royal College of Art 1963-64 Part-time assistant to Henry Moore Teaching Experience Slade School of Art Royal College of Art Central School of Art Falmouth School of Art Gloucestershire College of Art & Design Chelsea School of Art Birmingham Polytechnic Lancaster Polytechnic Manchester Polytechnic Goldsmiths College of Art Loughborough College of Art Newcastle upon Tyne Polytechnic Newport College of Art & Design North Staffordshire Polytechnic Stourbridge College of Art Trent Polytechnic West Surrey College of Art Wolverhampton Polytechnic Edinburgh School of Art Bristol Polytechnic (Sculpture) Leicester Polytechnic (Sculpture) 1964-89 Principal Lecturer, in charge of Sculpture, Maidstone College of Art Subject Leader, Sculpture, School of Fine Art, Kent Institute of Art & Design, Canterbury One Person Exhibitions 1967 Marlborough New London Gallery 1969 Gallery Ad Libitum, Antwerp B Middelheim Biennale, Antwerp B 1975 Canon Park, Birmingham 1980 The Ikon Gallery, Birmingham Minories Galleries, Colchester "Spaceframes & Circles" 1993 Kopp-Bardellini Agent Gallery, Zurich CH 2001 Glaxo Smith Kline - Harlow Research Centre 2005 Chappel Galleries, Essex 2010 Time & Life Building, London Group Exhibitions 1962 Towards Art I, Royal College of Art 1963-4 Young Contemporaries, AID Gallery 1964 Young Contemporary Artists, Whitechapel Gallery Maidstone College of Art Students, Show New Metropole Arts Centre, Folkestone 1965 Towards Art II, Royal College of Art, Sculpture at the Arts Council The New Generation, 1965, Whitechapel Gallery Whitworth Art Gallery Manchester Summer Exhibition Marlborough New London Gallery 4th Biennale de Paris 1966 The English Eye, Marlborough-Gerson Gallery, New York Structure 66, Arts Council of Gt. -
Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
CONTENTS 6 28—29 Foreword SOS – Save Our Sculpture 8—11 30—31 Brave Art For A Brave New World Out There Now 12—15 32—33 Harlow Sculpture Town Get Involved 16—17 34 Art For The People Acknowledgements 18—19 Private Public Art 20—21 City Sculpture Project All images and text are protected by copyright. No part of this book may be reprinted or reproduced 22—23 in any form or by any electronic means, without written permission of the publisher. © Historic England. Sculpitecture All images © Historic England except where stated. Inside covers: Nicholas Monro, King Kong for 24—27 the City Sculpture Project, 1972, the Bull Ring, Our Post-War Public Art Birmingham. © Arnolfini Archive 4 Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow Out There: Our Post-War Public Art 5 FOREWORD Winston Churchill said: “We shape our buildings and afterwards our buildings shape us”. The generation that went to war against the Nazis lost a great many of their buildings – their homes and workplaces, as well as their monuments, sculptures and works of art. They had to rebuild and reshape their England. They did a remarkable job. They rebuilt ravaged cities and towns, and they built new institutions. From the National Health Service to the Arts Council, they wanted access-for-all to fundamental aspects of modern human life. And part of their vision was to create new public spaces that would raise the spirits. The wave of public art that emerged has shaped the England we live in, and it has shaped us. -
The Great Dorset Art Fair Dorset Art Weeks 2012 Kingston Mauward, Dorchester Open Studios • Exhibitions • Events 10Am - 4Pm 800 Artists at 300 Venues
[EVOLVER] Saturday 5 November 26 May - 10 June 2012 DORSET VISUAL ARTS presents DORSET VISUAL ARTS presents The Great Dorset Art Fair Dorset Art Weeks 2012 Kingston Mauward, Dorchester Open Studios • Exhibitions • Events 10am - 4pm 800 artists at 300 venues Entry: Dorset Art Weeks - DAW - is the biennial event run £5 • Kids Free • DVA Members £2.50 by Dorset Visual Arts. See: DAW is reputedly the country’s largest Open Studio Fine Arts, Video, Photography, Design, Ceramics, Event - with over 800 artists exhibiting work in over Furniture, Performative Arts and more by professional 300 venues. More than 120,000 studio visits were artists, designers and makers, arts organisations, registered in 2010 galleries, students and suppliers To enrich the event, demonstrations and cultural Revealed through: events will take place across Dorset. The Allsop Demonstrations, Displays and Stalls, Art Books and Gallery at Bridport Arts Centre will become a Materials. Live and Recorded Presentations working studio. You will, of course, know the event is Find out: upon us when you see the flowering of the red and Learn more about materials, processes and products. yellow banners and road signs. Interact with artists. Find out more about the rich One of the enduring appeals of Open Studios is the variety of visual arts that are taking place across quality of welcome visitors receive from artists. Of Dorset, including festivals, ambitious new projects and course they are interested in selling work - but they workshops are keen to share their ideas and techniques with Join in: local people and visitors to Dorset. • As an artist, designer or maker - via the Art Market As the event draws near, look out for our great • Place, taking a stall or applying to be in one of the brochure and postcards. -
Central Books Magazine Catalogue 2018
This is draft 4 of the 2019 Central Books Magazine catalogue for Publishers to check their entries. Please report any errors you find. email them to [email protected]. Important things to check are price and frequency for 2019. We are getting close to the final draft. Image quality will be better when printed. Once the cover is storted we hope to go to print in Febrauary so get those comments in before February. Sorry at this late stage we can only take small amendments. There is an index at the end of the cataologue. Sorry it is too late to have an image entry this year if you have not yet booked it. Magazine Catalogue 2019 Introduction Welcome to our 2019 (and 80th birthday) magazine catalogue. We hope you find this special 80th anniversary catalogue a little different. We’ve decided to look backwards and forwards. We’ve included an article about our past and some of the magazine we have handled over the years. To the right is a picture of where it all started. Central Books continues to be Europe’s largest distributor of magazines to the book trade, galleries and other specialist outlets. Central Books have been handling magazines since we were established in 1939 and we’re delighted to note that Indie magazines and print are thriving, We – and our colleagues at Antenne Books - hope to continue bringing something different to your shelves for many years to come. We continue to add titles to our own list since the last catalogue. We think you’ll find them as compelling as we did when we took them on. -
Chronicle-Preview.Pdf
Chronicle V3.indd 1 05/10/2018 16:31 2 Chronicle V3.indd 2 05/10/2018 16:31 Celebrating 40 years in 2018 Dathlu 40 mlynedd yn Image / Llun © Maurice Broomfi eld Broomfi Image / Llun © Maurice 2018 Chronicle V3.indd 3 05/10/2018 16:31 CHRONICLE Published by Ffotogallery 4 Wales Limited Turner House, Plymouth Road, Penarth, CF64 3DH ISBN-13: 978-1-872771-49-6 Writer & Editor: David Drake The Valleys Project Text: Paul Cabuts Publication Design: Oliver Norcott Installation Images: Marc Arkless Cover Image: André Gelpke All images © The Artists All text © The Authors Translation: Siân Edwards, Owen Martell and Sian Jones Printed in Wales by Zenith Media All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the publisher. Published October 2018 Edition of 300 Chronicle V3.indd 4 05/10/2018 16:31 Foreword / 6 Rhagair Our Story / 8 Ein Stori Supporting Welsh Artists / Cefnogi 80 Artistiaid Cymreig Diffusion - 88 Legacy / Gwaddol International 5 Engagement 98 / Ymgysylltiad Rhyngwladol Exhibitions / Arddangosfeydd 114 1978–2018 Publications / Cyhoeddiadau 120 1978–2018 Acknowledgements / 123 Cydnabyddiaeth Chronicle V3.indd 5 05/10/2018 16:31 In September 1978, the first gallery Ym mis Medi 1978, agorodd oriel in Wales dedicated to photography gyntaf Cymru ar gyfer ffotograffiaeth opened in Charles Street, Cardiff, yn benodol yn Heol Charles, under the name Yr Oriel Ffotograffeg. Caerdydd, o dan yr enw Yr Oriel Changing its name to Ffotogallery in Ffotograffeg. Gan newid ei henw 1981, the organisation continues to i Ffotogallery ym 1981, mae’n dal thrive forty years on and is currently i ffynnu ddeugain mlynedd yn establishing a new city centre base ddiweddarach ac mae wrthi bellach in Cardiff.