V&A R Esearch R Eport 2012
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 -
Key Bus Routes in Central London
Route 8 Route 9 Key bus routes in central London 24 88 390 43 to Stoke Newington Route 11 to Hampstead Heath to Parliament to to 73 Route 14 Hill Fields Archway Friern Camden Lock 38 Route 15 139 to Golders Green ZSL Market Barnet London Zoo Route 23 23 to Clapton Westbourne Park Abbey Road Camden York Way Caledonian Pond Route 24 ZSL Camden Town Agar Grove Lord’s Cricket London Road Road & Route 25 Ground Zoo Barnsbury Essex Road Route 38 Ladbroke Grove Lisson Grove Albany Street Sainsbury’s for ZSL London Zoo Islington Angel Route 43 Sherlock Mornington London Crescent Route 59 Holmes Regent’s Park Canal to Bow 8 Museum Museum 274 Route 73 Ladbroke Grove Madame Tussauds Route 74 King’s St. John Old Street Street Telecom Euston Cross Sadler’s Wells Route 88 205 Marylebone Tower Theatre Route 139 Charles Dickens Paddington Shoreditch Route 148 Great Warren Street St. Pancras Museum High Street 453 74 Baker Regent’s Portland and Euston Square 59 International Barbican Route 159 Street Park Centre Liverpool St Street (390 only) Route 188 Moorgate Appold Street Edgware Road 11 Route 205 Pollock’s 14 188 Theobald’s Toy Museum Russell Road Route 274 Square British Museum Route 390 Goodge Street of London 159 Museum Liverpool St Route 453 Marble Lancaster Arch Bloomsbury Way Bank Notting Hill 25 Gate Gate Bond Oxford Holborn Chancery 25 to Ilford Queensway Tottenham 8 148 274 Street Circus Court Road/ Lane Holborn St. 205 to Bow 73 Viaduct Paul’s to Shepherd’s Marble Cambridge Hyde Arch for City Bush/ Park Circus Thameslink White City Kensington Regent Street Aldgate (night Park Lane Eros journeys Gardens Covent Garden Market 15 only) Albert Shaftesbury to Blackwall Memorial Avenue Kingsway to Royal Tower Hammersmith Academy Nelson’s Leicester Cannon Hill 9 Royal Column Piccadilly Circus Square Street Monument 23 Albert Hall Knightsbridge London St. -
Curators' Colloquium on Knitted Textiles
Fleece to Fashion Economies and Cultures of Knitting in Modern Scotland Curators’ Colloquium on Knitted Textiles Friday 29 January 2021 1.30 - 4.00 pm on Zoom PROGRAMME 1.30 Welcome and Introduction (Lynn Abrams, Carol Christiansen) 1.40-2.30 Acquisition, Identity and Interpretation Chair: Roslyn Chapman The Challenges of a ‘Living’ Knitwear Collection (Carol Christiansen, Shetland Museum and Archives) Scottish and European Knitted Textiles at National Museums Scotland: collecting, interpretation and display' (Helen Wyld, National Museums of Scotland) 2.30-3.00 Care and Conservation Chair: Sally Tuckett The Care and conservation of Knit Collections (Frances Lennard, University of Glasgow) 3.00-3.05 Leg stretch 3.05-3.50 Interpretation and Display – Conventional and Digital Chair: Lin Gardner Colour Revolution: Bernat Klein and the post-war market for handknitting (Lisa Mason, National Museum of Scotland) Glorious Ganseys: a glance at the Scottish Fisheries Museum’s collection of fishermen’s jumpers with particular focus “Knitting the Herring” and the creation of a National Database (Jen Gordon and Federica Papiccio, Scottish Fisheries Museum) 3.50-4.00 Summing Up and Next Steps Chair: Marina Moskowitz Speaker Biographies Carol Christiansen is Curator and Community Museums Officer at Shetland Museum and Archives. As curator, her main responsibility is the Museum’s nationally recognised textiles collection, which has a large knitted textile component. She holds a PhD from the University of Manchester in Archaeology with a specialisation in Textiles and has worked and published in the specialism with colleagues in the UK and Nordic countries. She is the author of Taatit Rugs: the pile bedcovers of Shetland (2015) and numerous articles on Shetland’s textile heritage. -
Rothesay March 13Th Word Count: 568 Visual Attention 1 2 Given That Our
Rothesay March 13th Word count: 568 1 Visual Attention 2 3 Given that our visual attention has limited resources, we selectively attend to areas that 4 contain salient stimuli (Wolfe & Horowitz, 2004) or that match our internal goals (Hopfinger, 5 Buonocore, & Mangun, 2000). At the same time, other areas in the visual display are often 6 overlooked. Thus, a designer should carefully consider drawing viewers’ attention to important 7 information and reducing viewers’ attentional load on unimportant information. 8 Web designers recently tend to present all the information on a long page, and the 9 viewers need to scroll down to see different blocks of information. This new trend is probably 10 due to frequent mobile device use in our daily life, and we become more familiar with scrolling. 11 A critical piece of information on this type of webpage is to notify people to scroll down. 12 Otherwise, this design would be a complete failure. To successfully deliver this message, 13 designers can use preattentive features, such as motion, to draw people’s attention. For example, 14 on Google Drive’s webpage, the down arrow at the bottom of page informs people to scroll 15 down. Although the color makes the down arrow to stand out from the background, the 16 additional movement of the arrow is the key factor that draws people’s attention. Thus, dynamic 17 arrows can be useful to draw people’s attention to scroll down. 18 If a webpage is filled with dynamic objects, it will create competition between 19 information. To avoid this issue, other methods should be used to draw viewers’ attention. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
Issue 183 Winter 2014/15
CAMBERWELL QUARTERLY The magazine of the Camberwell Society No 183 Winter 2014/15 £1.50 (free to members) www.camberwellsociety.org.uk Perk up your park – p9 Planning Enforcement – p4 The Huguenots of Camberwell – p7 Contents Gazette Report from the Chair ............3 LOCAL SOCIETIES, VENUES AND EVENTS Planning enforcement ............4 We recommend checking details Great expectations for Camberwell art ......................6 Brunswick Park Neighbourhood Nunhead Cemetery Tenants and Residents Association Linden Grove, SE15. Friends of Huguenots of Camberwell ....7 Jason Mitchell 07985 548 544 Nunhead Cemetery (FONC) Perk up your park ..................9 [email protected] 020 8693 6191 www.fonc.org.uk Viet Café Review ................12 Burgess Park, Friends of Green Dale ..........................14 For meetings, events and updates on Peckham Society Burgess Park improvements Peter Frost 020 8613 6757 News ....................................15 www.friendsofburgesspark.org.uk Sunday 15 February, 3pm, Recent [email protected] archaeological finds in Southwark. Community Council: Arts, Meet at St John’s Church, charts and housing starts ......16 Butterfly Tennis Club Goose Green www.butterflytennis.com www.peckhamsociety.org.uk and TU BE or not TU BE ....17 Planning comments..............18 Camberwell Gardens Guild Ruskin Park, Friends of Membership enquiries to: Doug Gillies 020 7703 5018 Directory ..............................19 Pat Farrugia, 17 Kirkwood Road, SE15 3XT SE5 Forum SE5Forum.org.uk THE CAMBERWELL Carnegie Library, Friends of [email protected] SOCIETY See the Friends’ tray in the Library or MEMBERSHIP & EVENTS [email protected] South London Gallery 65 Peckham Road SE5. Open: Concerts in St Giles’Church Tuesday to Sunday – 12pm-6pm, Membership is open to anyone Camberwell Church Street closed on Monday who lives, works, or is interested [email protected] www.southlondongallery.org in Camberwell. -
Collaborative Relationshipsaid & Abet
news venice biennale, international relations features artists and curators talking: issues and outcomes, arts funding: canadian comparison, open studios, postgraduate focus debate believe in film JUNE 2011 collaborative relationships aid & abet £5.95/ 8.55 11 MAY–26 JUN 13 JUL–28 AUG 7 MAY– 26 JUN JVA at Jerwood Space, JVA at Jerwood Space, JVA on tour London London DLI Museum & Art Gallery, Durham An exhibition of new works by Selected artists Farah the inaugural Jerwood Painting Bandookwala, Emmanuel Final chance to see the 2010 Fellows; Clare Mitten, Cara Boos, Heike Brachlow exhibition selected by Charles Nahaul and Corinna Till. and Keith Harrison exhibit Darwent, Jenni Lomax and newly commissioned work. Emma Talbot. Curated by mentors; Paul Bonaventura, The 2011 selectors are durham.gov.uk/dli Stephen Farthing RA Emmanuel Cooper, Siobhan Twitter: #JDP2010 and Chantal Joffe. Davis and Jonathan Watkins. jerwoodvisualarts.org jerwoodvisualarts.org CALL FOR ENTRIES 2011 Twitter: #JPF2011 Twitter: #JMO2011 Deadline: Mon 20 June at 5pm The 2011 selectors are Iwona Blazwick, Tim Marlow and Rachel Whiteread. Apply online at jerwoodvisualarts.org Twitter: #JDP2011 Artist Associates: Beyond The Commission Saturday 16 July 2011, 10.30am – 4pm The Arts University College at Bournemouth | £30 / £20 concessions Artist Associates: Beyond the Commission focuses on the practice of supporting artists within the contemporary visual arts beyond the traditional curatorial, exhibition and commissioning role of the public sector, including this mentoring, advice, advocacy, and training. Confirmed Speakers: Simon Faithfull, (Artist and ArtSway Associate) Alistair Gentry (Artist and Writer, Market Project) Donna Lynas (Director, Wysing Arts Centre) Dida Tait (Head of Membership & Market Development, Contemporary Art Society) Chaired by Mark Segal (Director, ArtSway). -
Conservation Area Statement Hampstead 2
Conservation area statement Hampstead 2 Conservation & Urban Design Team London Borough of Camden Environment Department Town Hall Extension Argyle Street London WC1H 8ND Telephone: 020 7974 1944 Produced by Camden Design & Print END200/01 4279 Tel: 020 7974 1985 page 3 Location page 8 History page 12 Character page 46 Audit page 57 Current Issues page 59 Guidelines page 68 Road Index HAMPSTEAD Conservation Area Statement The aim of this Statement is to provide a clear indication of the Council’s approach to the preservation and enhancement of the Hampstead Conservation Area. The statement is for the use of local residents, community groups, businesses, property owners, architects and developers as an aid to the formulation and design of development proposals and change in the area. The statement will be used by the Council in the assessment of all development proposals. Camden has a duty under the Planning (Listed Buildings and Conservation Areas) Act 1990 to designate as conservation areas any “areas of special architectural or historic interest, the character or appearance of which it is desirable to preserve or enhance.” Designation provides the basis for policies designed to preserve or enhance the special interest of such an area. Designation also introduces a general control over the demolition of unlisted buildings. The Council’s policies and guidance for Conservation Areas are contained in the Unitary Development Plan (UDP) and Supplementary Planning Guidance (SPG). This Statement is part of SPG and gives additional detailed guidance in support of UDP policies. The Statement describes the character of the area, provides an outline of the key issues and identifies development pressures which are currently a cause of concern. -
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, -
Economic Impact of Visits
[London MD logo] Museums survey 2018 DETAILED REPORT 1 Response rate Financial operations Summary of findings• 48 Accredited non-national museums in the • £10,641,596 was generated by This is the first survey of the 126 non national capital responded to the first London Annual responding museums in earned income London museums within the Accreditation Survey of Museums. (including admissions, retail, catering, Scheme. In this, the first year of the survey in • This equates to a 38% response rate from events, hospitality, educational and London, participation from the Local Authority London non-National museums within the other earned income from trading, e.g. funded museum sector was stronger than other Accreditation scheme property rental) parts of the sector. • £8,356,993 received in regular public Audiences funding (including ACE MPM/National • The government’s 2017 Mendoza Review of the A total of 3,876,653 visits in 2017-18 based Portfolio funding) English museum sector highlighted the on responses received • £979,186 received in grant funding • importance of accurate data to the health of the Responding museums held a total of 4,206 • £3,208,627 received in contributed sector. To date, the key sources of sector data activities and events that engaged 222,866 income (including all money received in have been generated through reporting to Arts participants donations, friends members/schemes, any sponsorship income, corporate Council England as a function of grant Economic impact investment for National Portfolio Organisations membership, or other non-earned • Visits to responding museums represented income) (previously Major Partner Museums) or through around £61,339,109 of gross visitor impacts the reporting of nationally sponsored museums • There were at least £9,955,117 of direct, Workforce – volunteers to government. -
Dalziel + Scullion – CV
Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire. -
Keats House Forward Plan October 2016 – March 2020
APPENDIX 1 Keats House forward plan October 2016 – March 2020 Vicky Carroll (Principal Curator) and Frankie Kubicki (Senior Curator) October 2016 1 2 Contents Statement of purpose for Keats House ....................................................................................... 4 To preserve and develop Keats House as a museum and live memorial to John Keats and as a literary meeting place and centre for the education and benefit of the public. ........................................................................................................................................................... 4 Strategic context within the City of London Corporation ........................................................ 4 Current situation .............................................................................................................................. 5 Review of 2014-16 ........................................................................................................................... 5 Development of the Forward Plan .............................................................................................. 6 Our vision .......................................................................................................................................... 6 Our aims and objectives ............................................................................................................... 7 Our strategic aims ......................................................................................................................