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International Art
International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2. -
'The Neo-Avant-Garde in Modern Scottish Art, And
‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 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 Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Argyll & the Isles
EXPLORE 2020-2021 ARGYLL & THE ISLES Earra-Ghàidheal agus na h-Eileanan visitscotland.com Contents The George Hotel 2 Argyll & The Isles at a glance 4 Scotland’s birthplace 6 Wild forests and exotic gardens 8 Island hopping 10 Outdoor playground 12 Natural larder 14 Year of Coasts and Waters 2020 16 What’s on 18 Travel tips 20 Practical information 24 Places to visit 38 Leisure activities 40 Shopping Welcome to… 42 Food & drink 46 Tours ARGYLL 49 Transport “Classic French Cuisine combined with & THE ISLES 49 Events & festivals Fáilte gu Earra-Gháidheal ’s 50 Accommodation traditional Scottish style” na h-Eileanan 60 Regional map Extensive wine and whisky selection, Are you ready to fall head over heels in love? In Argyll & The Isles, you’ll find gorgeous scenery, irresistible cocktails and ales, quirky bedrooms and history and tranquil islands. This beautiful region is Scotland’s birthplace and you’ll see castles where live music every weekend ancient kings were crowned and monuments that are among the oldest in the UK. You should also be ready to be amazed by our incredibly Cover: Crinan Canal varied natural wonders, from beavers Above image: Loch Fyne and otters to minke whales and sea eagles. Credits: © VisitScotland. Town Hotel of the Year 2018 Once you’ve started exploring our Kenny Lam, Stuart Brunton, fascinating coast and hopping around our dozens of islands you might never Wild About Argyll / Kieran Duncan, want to stop. It’s time to be smitten! Paul Tomkins, John Duncan, Pub of the Year 2019 Richard Whitson, Shane Wasik/ Basking Shark Scotland, Royal Botanic Garden Edinburgh / Bar Dining Hotel of the Year 2019 Peter Clarke 20ARS Produced and published by APS Group Scotland (APS) in conjunction with VisitScotland (VS) and Highland News & Media (HNM). -
List of Scottish Museums and Libraries with Strong Victorian Collections
Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish -
Scottish Art: Then and Now
Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson. -
Principal Job Pack
The Leith School of Art 25 North Junction Street Edinburgh EH6 6HW Telephone: 0131 554 5761 Web: www.LeithSchoolofArt.co.uk Email: [email protected] Leith School of Art – appointment of Principal A welcome from the Chair of the Board of Directors Thank you for your interest in Leith School of Art and in our search for a new Principal. As you delve into the following pages I hope you will gain a sense of what makes Leith School of Art unique and this vacancy so special. Leith School of Art is held in great respect by artists far and wide and in genuine affection by all who are associated with it. Leith means a great deal in different ways to different people of course, but if two things stand out it is the excellence of the teaching and the sense of community and support that surrounds it. There are many who can describe the experience of studying at Leith as life-changing, whether as a springboard to an artistic career or privately as a way to find, or rediscover, fulfilment, self-connection and expression. Our means-tested Assisted Places and Community Classes open the door to many for whom the opportunity to learn about art and design would be beyond reach on cost grounds. With the forthcoming retirement of our current Principal, we are at a highly significant transition in the story of Leith School of Art, and this is a very exciting opportunity for an artist with a passion and vision for art education to play a leading role in shaping the next chapter. -
Holiday Homes Tour Friday, December 13, 2019
CANVAS 1050 World’s Fair Park Drive, Knoxville, TN 37916 FALL 2019 knoxart.org The Guild E AT D E TH E AV presents the S 25TH ANNUAL HOLIDAY HOMES TOUR Friday, December 13, 2019 More information at www.knoxart.org Special thanks to presenting sponsor Knoxville Museum of Art FROM THE EXECUTIVE DIRECTOR EXHIBITIONS 1050 World’s Fair Park Drive ACQUISITIONS Knoxville, Tennessee 37916 Growing and developing the KMA’s outdoor sculpture collection has long been an 865.525.6101 • [email protected] important strategic goal for the museum. Progress toward that goal has been slow, however. Sculptures by significant artists that are big enough and durable enough FREE Admission to be placed outside are, well, expensive to purchase and maintain. Also, for the Hours past few years we have aggressively dedicated all available acquisition resources to building an unparalleled collection of works by Knoxville native Beauford Delaney, Whistler & Company Tuesday-Saturday 10am-5pm which because of special circumstances we had to do very quickly. As a result, Sunday 1-5pm the KMA is proud to own more works by Beauford Delaney than any other public Closed institution in the world. Many of those recent acquisitions will make their debut in February 2020, when the museum opens its groundbreaking exhibition devoted to Mondays, New Year’s Day, Independence the relationship between Delaney and his lifelong friend, writer and Civil Rights activist James Baldwin. It’s a The Etching Revival Day, Thanksgiving, Christmas Eve, fascinating story that will focus the attention of the world on Knoxville. Christmas Day, and New Year’s Eve The museum’s outdoor sculpture collection got off to a great start fifteen years ago when friends of Alan August 23-November 10, 2019 Solomon, one of the “founding fathers” of the KMA, raised funds to commission in Dr. -
Education Scotland Report June 2016
Review of private Further Education colleges and English Language Schools Leith School of Art 1 June 2016 The review process This review report follows the quality framework for the review arrangements for private further education colleges and English language Schools in Scotland, April 2012. The review normally lasts for three days. Over the three-day period, the review team: engage with learners; observe episodes of learning and teaching and provide feedback to each member of teaching staff or other learning facilitator on strengths and areas for further development; conduct interviews and undertake other activity required to determine the extent of concordance between documentary evidence and practice; evaluate evidence against the 11 reference quality indicators; and identify key strengths and areas for further development for the organisation. Education Scotland is an approved educational oversight body authorised by the Home Office to inspect private further education colleges and English language Schools in Scotland. Reviews are arranged under three high-level questions which Education Scotland is adopting for evaluative purposes: How well are learners progressing and achieving relevant, high quality outcomes? How effective are the organisation’s learning and teaching processes? How effective are the organisation’s leadership and quality culture? Education Scotland reviews are designed to: support and promote quality enhancement in organisations to provide the best possible experience for the learner; provide information to the Home Office, when required, on the quality of organisations and the learning experience they provide; provide an independent evaluation to assist organisations in informing prospective and current learners of the quality of the organisation’s and services; evaluate organisations against the Education Scotland quality framework, March 2012; and complement organisation-led internal review and self-evaluation. -
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. -
Download Publication
ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters . -
DAVID MICHIE Memorial Exhibition
DAVID MICHIE DAVID DAVID MICHIE Memorial Exhibition The Scottish Gallery, Edinburgh DAVID MICHIE (1928-2015) Memorial Exhibition 1 March – 1 April 2017 16 Dundas Street · Edinburgh EH3 6HZ +44 (0) 131 558 1200 [email protected] www.scottish-gallery.co.uk Front cover: Summer Garden, 1990, oil on canvas, 132 x 152.5 cms (detail) (cat. 26) Left: Self Portrait II, c.1958, chalk drawing, 36.5 x 26.5 cms (detail) (cat. 6) FOREWORD A memorial exhibition should not be a sombre affair and with the subject being the life and work of David Michie our exhibition for March 2017 could not be anything but a joyous celebration, as the succeeding pages should attest. David was a devoted son to his mother Anne Redpath, the happiest of married men with his wife Eileen, the best of fathers to his girls (who have all our thanks for helping prepare this tribute) and a friend to so many, including succeeding staff at The Scottish Gallery. One of whom, Robin McClure, writes a warm introduction over the page. This generosity of heart sprang from David’s intense interest in people: he had much to say but always as part of a conversation. But whatever he was saying he was also looking, a sketchbook seldom far from hand and what he saw and remembered or recorded helped him develop his own visual language to describe many aspects of natural phenomena but also his own feelings. A natural modesty could make him a reluctant exhibitor but the exuberance and colour in his work seeks out the light and attests to a life well lived, full of optimism and creative fulfilment.