DOCSLIB.ORG

Geraldine Pilgrim

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geraldine Pilgrim This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. IKON wo1-;n:; TELLING STO,iIES fa.3GvT 1:Cl"E!\ GALLERY Performance by Paul Burwell June 10 7.30pm Admission free t~ l~ Ikon Gallery ::tkl.,,. ~ M~ s-,,),,.fv1,v~ 58-72 John Bright St lr(i);IIKlll~JITit/till Birmingham B1 1 BN f>1E.,iri.., 0w~ ·M~c h'ffa,,«S~ ~<A:d ½ ~ y,.M -tHi;{ THE ALBANY EMPIRE THE DRILL HALL l)()l Cl.AS WAY, I.ONDON SES 16 (UENIES STREET , LONDON wn Tr.1in : Ucptford / New Cross . Tube : New Cro s~ Goott11:e Streel T ub e April 29- '\1a y 2, Ma ) -7- 9, Ma)· 14- 16 '1a) · 18--30 at 8.00 Tuesda y-Saturda y al 8.1~ pm. Sunday al 8.00 pm Sunday 6.00 pm Wednesday 19 Ma y at 7.00 pm BOX OFFICE : 01----6913333 BOX OFF ICE: 01-637 8270 Bar , Food, Musi(' & Dancing after sho"'°· LiC'ensed Bar & Good Food Our new address is: 14 PETOPLACEJ LONDONJ NWl 01 - 935 2714 This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. May/June 1982 The Performance Magazine 14 Peto Place, London NW1. 01 935 2714 Editors Rob La Frenais Luke Dixon Lynn MacRitchie Design Editor Chloe Nevett Associate Editors Pete Shelton Features Margurite McLaughlin Opinion ..... ....... ..... ....... .. ...... ... .. ... ... .. .. .. 4 Bruce Bayley Irish Performance . .. .. .. ... .. ... .. ... .. ..... .. .. .. _. 5 Music Four Artists .. .. .. ...... .. .. ... .... ... ... .. ... .. ... ... 9 Paul Burwell Red Artists Threat? . .. .. .. ..... ... .... ... .. .. .. .. ... ... .. ... 17 David lllic Contributors London's Dance Crisis . .... .... ..... ... .. .... ..... ..... .. 30 John Roberts Hesitate and Demonstrate . .. ... ..... ........ .. ... ... .... ... .... 15 Roger Ely Phil Hyde Gillian Clark Interview Diana Simmonds Geraldine Pilgrim ............ ... .. .. ........ .... ...... .... 12 Andrea Hill Liz Stolls Neil Hornick Music Guest contributors Women and Jazz .. ... ...... ..... .............. .... ... ... 18 Nick Stewart Peter Hill Mike Toobey Reviews Distribution London Roundup, La Ronde, Optik , Ariadone Co, Boogie! , . .. ...... .. 20 Full Time Distribution Duel Duet, Media Arts Group , SEM Ensemble, Forkbeard Fantasy , Typesetting Windhorse Photosetters Bread & Puppet, Delado, Pastorale , Leicester Performance Week Printing Calverts North Star Press Ltd Publisher Rob La Frenais Copyright (£; 1982 The Per1ormance Magazine ISSN No 0144 5901 This issue receives financial assistance Listings ···················································J from the Arts Council of Great Britain. --- -------------------- -- --, SUBSCRIBE Six issues annually post and packing paid: £5.50 (individuals) , £9.00 (institutions and overseas) . Back issues sent in the form of subscriptions : Back issues : No 4 Academia Ruchu , Mary Longford , The Maste,..,ork, Gay No 13 Gay Culture and Performance , Synoptic Realists , Mitzi Sweatshop . Wildebeeste , Theatre of the Eighth Day, Provisorium , Gilbert and George , No 5 Cardiff , Stuart Brisley , Silvia Ziranel<, Sonia Knox, Charlie Drake Roland Muldoon (Interview) , Lyon Performance Festival . (interview) . No 14 Interview with Laurie Anderson , Jonathan Borofsky , Perfor­ No 6 Midlands , Naked Art , Drag, Steve Cripps , Point Blank Dartington mance Art Platform , Tate Performance , The Acme 1976-81, Miranda Dance . Tufnell. No 7 John Cage (Interview) , Merce Cunningham, Street Performance . No 15 Magic and Performance , Yoshi Oida, The Art of Social Change , Tadeusz Kantor , Lumiere and Son, Forkbeard Fantasy . Station House Opera , Dance Umbrella . No 8 About Time , I Giselle, Tom Saddington , Stefan Brecht , Pip No 1t- Disband, Video Libraries , Bruce Maclean, Andre Stitt, Lumiere and Simmons (Interview) . Son , Forkbeard Fantasy. No 9 Entertainment Special , (Showbiz , TV, Tourism , Bingo, Waxworks , Discothquea), lvor Cutler (Interview) . No 10 Chr is Burden , Station House Opera, Cameron and Miller (Interview) , Video Festival , Belgian Performance . No 11 Lizzie Cox , Brion Gysin (Interview) , Stuart Brisley, Artworks , Please Note new address for subscriptions: send to Theatre Despatch , 31 Riverside Dance , European Theatre of War. Shelton Street, London WC2H 9HT. No 12 State Performance (Analysis of Royal Wedding) British Events , Make cheques payable to Perfo rmance Magazine . Richard Layzell , Crit ics and Doormats Show Trial , Cabaret Futura. I would like to subscribe to Performance Magazine starting with No. (please ring) 4 5 6 7 8 9 10 11 12 13 14 15 16 I enclose cheque/postal order for __ _______________ payable to Performance Magazine. Name Address __________ _____ _ This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. Opinion . quality argument lead? Inescapably to the conclusion that men do not hold the patent on genius, but that they've cornered the market in powerful mediocrity. \ Women Live Which brings us back to the end of the tether and 'Women Live' - a month Diana Simmonds asks some awkward questions organised by and dedicated to women's work in the arts. The full programme is eclectic, nationwide and largely, of the fringe: the placid manly brows in high places remain, for the time being at least, unfurrowed. This is hardly surprising, given a budget of £3,500 (not a misprint ): £3,000 from the Equal Opportunities Commission and £500 from the Greater London Arts Association to get the event off the ground. Ironically, in the great tradition, this has meant that many women have given their time for nothing in between making a living and running their private lives. The rich, rambling result is thus even more an extraordinary phenom­ enon. There is wonderful theatre, world class music and scores of films. Out of the woodwork have come technicians and per­ formers who have never before realised each other's existence let alone the possi­ bility of finding work together - and transforming entertainment. If Women Live! is to mean anything out­ side of this glorious month of May, it is that transformation that has to come - not the once a year joys of a festival, but the daily, weekly, monthly, yearly work requirements of the participants, who after all, need to live in order to continue holding up their half whilst persuading the rest that they're also entitled to the simple perks of being alive. And it is this aspect omen Live! 'Live' as in 'strive' oozing from every orifice bring us almost I that is most worrying. Already a male W rather than 'give', that is, is the unadulterated pap on all three TV colleague has said 'Well, maybe we can title given to the culmination of · channels: the West End's current crop of have a bit of peace now you've had your over a year's extraordinary back- bum-numbing drama (63 productions month '. He meant it as a joke but, as I room work by Women In Entertainment written or directed by men, six by women pointed out (in the way of humourless and, as their programme says 'launches our at press time) and, recently, a crop of films · feminists ) the Falklands started out as a drive to transform entertainment in depicting such grotesque violence towards joke too. Musicians, electricians, play­ Britain'. women that even the tabloids began to wrights, designers (journalists even) need But what does it all mean? Transforming question whether it was perhaps a bit work, affirmation and control over their entertainment means re-adjusting our sets much. The latest of the genre 'Visiting lives all year round. Blowing or singing - theatncal, TV, music and film - to Hours', even brought the urbane your lungs out for a month is progress of a take into account that the species who hold Alexander Walker out in hives. Neither is sort but it will be interesting to see how up half the sky would like to do other cinema exactly overflowing with works of many have anything like the same amount things as well. It also means that those who pacific genius elsewhere either: 'Chariots of work in October. And, although the are already 'doing' would like the oppor- of Fire' may well be about the triumph of stamina of women is legendary, one tunity to do more, do it differently and do the athletic will over, inter alia, racism, but wonders whether the pushers, pullers and it as a matter of course rather than in the is also a great deal to do with the resur­ movers of W0men Live! could or should grace-and-favour, nudge-nudge system gence of (respectable ) British nationalism. continue with this sort of burden. Can that currently passes for thought in the Imagine swapping Wilma Rudolph for they/we keep up the pressure? Is it the corridors of entertainment power. Harold Abrahams - the declared inten- right kind of pressure? The taskforce has A (male) theatre director, asked why tions would be achieved but the actual set sail with , for some of the crew at least, he'd put on only one play by a woman in result wouldn't ... little idea of the fundamental nature of the over ten years work, said 'We don 't cater Then of course there is the music battles that could lie ahead - or even a for minorities'. However, this minority business where, whether it's a record corn­ destination . No one gives up power easily, accounts for 52% of the population and pany executive, revered jazz man or good least of all the beneficiaries of the richest over 40% of the official workforce - not to leftie supporter of RAR, their attitude industry of all (we're talking about enter­ mention 100% of child production.
Load more

Recommended publications
  • Phantom Captain in Wakeathon
    ... • • • •• • • • •• • • • • • •• • • •I • • • • ' • • ( • ..• •.• ., .,,. .. , ••• .• • . • • •• • • • • •• • • • • • • • • • •"' • •. • .••• . ' . J '•• • - - • • • • • .• ...• • . • • • •• • • • • • • •• • ••• • ••••••••• • • • •••••• • • • • • • ••••• . • f • ' • • • ••• • •• • • •f • .• . • •• • • ., • , •. • • • •.. • • • • ...... ' • •. ... ... ... • • • • • ,.. .. .. ... - .• .• .• ..• . • . .. .. , • •• . .. .. .. .. • • • • .; •••• • •••••••• • 4 • • • • • • • • ••.. • • • •"' • • • • •, • -.- . ~.. • ••• • • • ...• • • ••••••• •• • 6 • • • • • • ..• -•• This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. NEW DANCE THEATRE IN THE '80s? THE ONLY MAGAZINE BY FOR AND ABOUT TODAYS DANCERS "The situation in the '80s will challenge live theatre's relevance, its forms, its contact with people, its experimentation . We believe the challenge is serious and needs response. We also believe that after a decade of 'consolidation' things are livening up again. Four years ago an Honours B.A. Degree in Theatre was set up at Dartington College of Arts to meet the challenge - combining practice and theory, working in rural and inner-city areas, training and experimenting in dancing, acting, writing, to reach forms that engage people. Playwrights, choreographers
    [Show full text]
  • IPG+Adult+Fall+2019.Pdf
    Fall 2019 Best-Selling Titles IPG – Fall 2019 9781948705110 9781604432565 9781947026025 9781947026186 9781935879510 9781936693771 9781771681452 9781613737002 9781641600415 9781613749418 9781613735473 9780914090359 9781613743416 9780897333764 9781613747964 9781556520747 9781682751596 9781555917432 9781555914639 9781555916329 9781682570890 9780918172020 9781940842110 9781940842004 9781940842080 IPG – Fall 2019 Best-Selling Titles 9781940842226 9781681121703 9781783055876 9781629635736 9781629635682 9781629635101 9781892005281 9781939650870 9781943156702 9781935622505 9781643280639 9781930064171 9780824519865 9780991399703 9781629376370 9781629376110 9781629376752 9781629377001 9781629376349 9781629376004 9781629375342 9781629374420 9781947597006 9781947597037 9781947597020 Fall 2019 Arts & Entertainment ������������������������������� 1–15 History & Humanities ���������������������������� 16–30 Comics & Graphic Novels ���������������������� 31–37 Fiction & Poetry������������������������������������� 38–66 Sports & Recreation ������������������������������ 67–79 Activities, Craft & Photography ��������������� 80–92 Health & Self-Help �������������������������������� 93–99 Religion & Spirituality ������������������������ 100–103 Business & Travel ������������������������������ 104–111 Index ������������������������������������������������ 112–114 IPG – FALL 2019 Arts & Entertainment Twisted: The Cookbook Team Twisted From social media powerhouse TWISTED comes a bold new collection of recipes that feature in videos garnering upwards of 400
    [Show full text]
  • Iain Sinclair
    Iain Sinclair: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Sinclair, Iain, 1943- Title: Iain Sinclair Papers Dates: 1882-2009 (bulk 1960s-2008) Extent: 135 document boxes, 8 oversize boxes (osb) (56.7 linear feet), 23 oversize folders (osf), 15 computer disks Abstract: The papers of British writer Iain Sinclair consist of drafts of works, research material, juvenilia, notebooks, personal and professional correspondence, business files, financial files, works by others, ephemera, and electronic files. They document Sinclair’s prolific and diverse career, from running his own press to his wide range of creative output including works of poetry, fiction, non-fiction, edited anthologies, screenplays, articles, essays, reviews, and radio and television contributions. Call Number: Manuscript Collection MS-4930 Language: English; some French, German, and Italian Access: Open for research. Researchers must register and agree to copyright and privacy laws before using archival materials. Some materials restricted due to condition and conservation status. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
    [Show full text]
  • From Birmingham to Belfast
    UPLOAD: 1 December 2017 Special JEMS Forum: The EMC2 Festival, 24–26 March 2017, De Montfort University, Leicester, UK Sponsored by CoMA (Contemporary Music for All), Arts Council of England, and the University of Leicester From Birmingham to Belfast: improvising and experimenting with students Hilary Bracefield THERE is no doubt that the people behind the Experimental Catalogue (begun in 1968 by Chris Hobbs with Gavin Bryars and Michael Nyman joining in) were largely responsible for disseminating and fostering the rise in indeterminate music-making in the 1970s and 1980s in the United Kingdom. In Birmingham, however, the start of an experimental music group had another impetus. This article, based on a paper given to the EMC2 conference at De Montfort University in March 2017, is a personal account of the events in Birmingham from 1971 and in Belfast from 1977. The start of an improvisatory music group at Birmingham University must be credited to the lecturer Peter Dickinson. He had studied at Hilary Bracefield, paper, 24 March 2017 the Juilliard School in New York and encountered the music of John Cage, Henry Cowell and Edgard Varèse. On return to England he had worked on improvisatory music with students in London. Just before he left Birmingham to go to Keele University (where he set up an important centre for the study of American music) he collaborated in March 1971 with a lecturer in drama, Jocelyn Powell, to mount a performance of John Cage’s Theatre Piece (1960) in an evening concert at the Barber Institute at the university, a series to which the general public always came.
    [Show full text]
  • The Black Panther Dossier Nixon Translated Into English Dwarf
    Est. 1817. Vol. 13 Number 8. 3 December, 1968 Fortnightly 1s. 6d. The Black Panther Dossier Nixon translated into English Dwarf exposes News of the World Where is RSSF going? John MacLean lives Tenants/Barbarella/Grays Inn/Hornsey/Trial in Wales 2 THE BLACK DWARF 13. 8 where is RSSF going wilson s barbarella— and when? scourge of the unions By PAT JORDAN The first RSSF Conference was Friday morning with a report by with the fight against im­ held in June in an atmosphere the National Coordinating Com­ perialism. The impact of this of optimism and excitement fol­ mittee on the problems it had M a n if e s t o was, however, Barbara Castle, Labour’s Min­ ism’s creditors: the IMF chiefs can be approved or disapproved of beer and; her skilfully-dyed and the Swiss bankers). Because encountered during the summer. severely blurred when the Con­ ister of Employment and Produc­ by the PIB the whole function flaming red hair. But that de­ lowing the May events in tivity (“unemployment and of the huge opposition to her of unions is undermined. The feat didn’t mean much, as she France. Not only did it seem The Maoist delegation claimed ference decided that member­ wage-cutting” would be more plan to use legislation to take next step would be towards a explained the very same after­ that students could be activated that there had been an IS plot to ship of RSSF was not condi­ appropriate), has been presented back this penny (workers would set-up where PIB’s covering noon at a Fabian (yes, you and driven forward by revolu­ sabotage the RSSF; the IS de­ tional on the acceptance of this by the press virtually as Wilson’s have received it for two weeks particular industries (and, to guessed right) tea party.
    [Show full text]
  • Hist 1968-1989 R.Cwk (WP)
    NEXUS - History of Performances - p.1 (Becker, Cahn, Engelman, Wyre) 1968 Aug.17 Marlboro Music Festival, Vermont Stravinsky - Les Noces 1970 (Becker, Cahn) Nov.5 Rochester(NY)Strasenburgh Planetarium Nexus - improvisation 1971 WXXI-TV Local Broadcast - Rochester,NY Nexus - improvisation (Becker, Cahn, Engelman, Wyre) May 22 Kilbourn Hall, Eastman School of Music Nexus - improvisation May 23 Rochester First Unitarian Church Nexus - improvisation (Becker, Cahn) Oct.13 Rochester Philharmonic Orchestra w/Sam Jones Cahn - The Stringless Harp (Mirage?) (Becker, Cahn, Engelman, Wyre) Nov. 24 Hamilton(Ontario)Philharmoic Orchestra w/ B.Brott Wyre - Sculptured Sound 1972 (Becker, Cahn) Rochester Philharmonic Orchestra w/T.Virkhaus Cahn - The Stringless Harp (Becker, Cahn, Engelman, Wyre) May 13 Metropolitan United Church(Toronto) Nexus - improvisation (Becker, Cahn, Engelman, Hartenberger, Wyre) Aug.6 Marlboro Music Festival, Vermont Messiaen - Oiseaux Exotiques (Becker, Cahn, Craden, Engelman, Wyre) Aug.7 Shaw Festival (Music Today),Ontario Nexus - improvsation 1973 (Becker, Cahn, Craden, Engelman, Hartenberger, Wyre) Wesleyan University(Connecticut) Nexus with Adzinyah, Sumarsam, Peter Plotsky, Raghavan (Becker, Cahn, Craden, Tim Ferchen, Hartenberger) Jun.12 CBC Winnipeg Festival Nexus - improvisation (Becker, Cahn, Craden, Engelman, Hartenberger, Wyre) Jul.23 York University, Ontario Nexus - improvisation Jul.25 York University Nexus and Earle Birney Jul.26 York University Nexus and Pauline Oliveros Jul.30 York University Nexus and David
    [Show full text]
  • Finding Meaning in Britain's Earl
    ‘If I had more time it could be better, but the new wave’s about spontaneity, right?’: finding meaning in Britain’s early punk fanzines (1976–77) Article Accepted Version Worley, M. (2020) ‘If I had more time it could be better, but the new wave’s about spontaneity, right?’: finding meaning in Britain’s early punk fanzines (1976–77). Punk and Post-Punk, 9 (2). pp. 223-245. ISSN 2044-1983 doi: https://doi.org/10.1386/punk_00028_1 Available at http://centaur.reading.ac.uk/87866/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1386/punk_00028_1 Publisher: Intellect All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Matthew Worley University of Reading ‘If I had more time it could be better, but the new wave’s about spontaneity, right?’: Finding meaning in Britain’s early punk fanzines (1976–77) Abstract This article uses fanzines produced from the UK in 1976–77 to explore how punk’s politics, production and cultural impact were understood by those first enticed by ‘the new wave’. It is divided into three principal sections, the first offering some context: a rough survey of who made fanzines and how.
    [Show full text]
  • Smash Hits Volume 64
    ^#^ 35p USA $1-75 May 14-27 198 DEPARTMENT S ;t HIT LYRICS including WHEN HE SHINES I WANNA BE FREE KIM WILDE-UNDERTONES in colour >OR*HUMANLEAGUE*HONEYBA . Vol. 3 No. 10 I^^St^ I WANT TO BE FREE AVAST THERE, me hearties! Capn speakin'. Welcome aboard, scaoby landlubbers, to another voyage of me crusty bark "Ye Smashe Hittes" upon the salt-stained briney. Gadzooks! Be that a galley-load of rum-soaked reviews o'er yonder, or the brow of a Tenpole Tudor feature? And — egad! — foamin' in its wake, those scurvy seadogs The Human League with an Undertones colour spread up the crows nest. But, soft! Keel-haul me over a weed-encrusted Star Teaser if that irons. ain't a Books Round-Up and Fact Is Page a-clamberin' up the grappling Save yer doubloons! There's booty a-plenty to be won! Thrash asunder the baccy-chewin' Vaughn Toulouse and second mate Honey Bane and earn yerselves a Tenpole LP while firing in the direction of the Madness Poster Offer. Don't 'e read it all at once . -. 2 ! WANNA BE FREEToyah..,.,....,.-....... CARELESS MEMORIES Oyran Duran.. -...7 SWORDS OF A THOUSAND MEN Tenpole Tudor ......... J STARS ON 45 Star Soynd .....................10 on Safari Records DON'T SAY THAT'S JUST FOR WHITE BOYS Way Of The West........................ - H I'm bored THE SOUND OF THE CROWD Hmnan Uagse 11 to school 23 I don't wanna go LOVE GAMES LeveJ 42.......... Don't wanna be nobody's fool CHEQUERED LOVE Kim Wilde 27 I wanna be me, I wanna be me n' neat 27 I don't wanna be sweet PERFECT TIMING KM Oee.
    [Show full text]
  • Hanson 1 Inside the Body Politic: Examining the Birth of Gay
    Inside The Body Politic: Examining the Birth of Gay Liberation Honors Research Thesis Presented in partial fulfillment of the requirements for graduation with honors research distinction in English Language and Literature in the undergraduate colleges of The Ohio State University by Justin Nicholas Hanson The Ohio State University June 2011 Project Adviser: Dr. Manuel Martinez, Department of English Hanson 1 Dedicated to Herb Spiers, a mentor, a guide, and a best-friend. Rest in Peace, Herbie. Hanson 2 Introduction We gay folks know this most acutely because expressions of our very sexualities were illegal barely a generation ago (some still are). Freedom of expression is the very foundation of gay and lesbian movements. As a peaceful demonstration of civil disobedience, QAIA [Queers Against Israeli Apartheid] members and supporters should march in the parade, authors of their own messages, regardless of what Pride Toronto organizers, or their masters, have to say about it. – Matt Mills, “Let‟s Get Civilly Disobedient,” Extra, June 3, 2010. During the summer of 2010, Toronto‟s premier gay magazine Extra expounded criticisms such as these attacking the Toronto Pride Committee, which oversees Toronto‟s annual gay pride parade. The issues at stake: censorship and freedom of speech. During the spring of 2010, a gay political group entitled “Queers Against Israeli Apartheid” (QAIA) sought permission to march under this name in the Toronto gay pride parade, one of Toronto‟s largest annual events. Sensing controversy, Pride Toronto deliberated whether to allow QAIA to march. Eventually deciding to ban QAIA from marching under their contentious sobriquet, Pride Toronto stirred up the hornet‟s nest of gay activism.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY Moore, Alan. editorial. Embryo 1 (c. September 1970). Moore, Alan. editorial. Embryo 2 (December 1970). Moore, Alan. ‘A Voice of Flame’. Embryo 2 (December 1970). Moore, Alan ‘Deathshead’. Embryo 2 (December 1970). Moore, Alan. ‘Ministry of Love’. Embryo 2 (December 1970). Moore, Alan. “Paranopolis”, Embryo 2 (December 1970). Moore, Alan. ‘The Brain of Night’. Embryo 2 (December 1970). Moore, Alan. editorial. Deliver Us From All Rovel (1971). Moore, Alan. Rupert illustration. Embryo 3 (February 1971). Moore, Alan. ‘Mindfare Neurosis 80’. Embryo 3 (February 1971). Moore, Alan. “Breakdown”. Embryo 4 (c. May 1971). Moore Alan. ‘Once There Were Daemons’. Deliver Us From All Rovel (1971) and Embryo 5 (November 1971). Moore, Alan. ‘The Electric Pilgrim Zone Two’. Bedlam (1973) 18–19. Moore, Alan. ‘Anon E. Mouse’. ANON. Alternative Newspaper of Northampton 3 (Feb/March 1975) p. 9. Moore, Alan. ‘The Adventures of St. Pancras Panda’. Backstreet Bugle 6 (February 7–19, 1978), 12. Moore, Alan. ‘Yoomin’ cartoon. Backstreet Bugle 13 (May 16–June 5, 1978), 2. Moore, Alan. illustration, NME (October 21, 1978), 27. Moore, Alan. illustration, NME (November 11, 1978), 14. Moore, Alan. ‘St. Pancras Panda gets a dose o’ dat Old Time Religion’, Backstreet Bugle 25 (March 1979), 15. Moore, Alan. 'The Avenging Hunchback'. Dark Star 19 (March 1979), 31. Moore, Alan. 'Kultural Krime Komix'. Dark Star 20 (May 1979), 12. © The Editor(s) (if applicable) and The Author(s) 2017 263 M. Gray, Alan Moore, Out from the Underground, Palgrave Studies in Comics and Graphic Novels, DOI 10.1007/978-3-319-66508-5 264 BIBLIOGRAPHY Vile, Curt.
    [Show full text]
  • Support for the Arts in England and Wales Lord Redcliffe-Maud
    Support for the Arts in England and Wales Lord RedclifFe-Maud Calouste Gulbenkian Foundation 1976 SUPPORT FOR THE ARTS IN ENGLAND AND WALES SUPPORT FOR THE ARTS IN ENGLAND AND WALES AREPORTTOTHECALOUSTE GULBENKIAN FOUNDATION BY Lord Redcliffe-Maud Master of University College, Oxford Calouste Gulbenkian Foundation UK and Commonwealth Branch London 1976 © Calouste Gulbenkian Foundation 1976 98 Portland Place, London WIN 4.ET Designed and produced by Ruari McLean Associates Ltd, Dollar, Scotland FKI4 ypr Printed in Great Britain by Oyez Press Limited ISBN o 903319 06 3 second impression September 1976 third impression April 1979 fourth impression October 1982 Contents I INTRODUCTION Why an Enquiry now? page 9 Procedure 12 Some definitions 13 Why patronise the arts? 14 Arrangement of report 15 II CONCLUSIONS AND RECOMMENDATIONS A. GENERAL Post-war progress 17 No grounds for complacency 18 More money needed 19 Planning must not wait 19 Local democracy the clue to progress 20 National leadership needed 20 Regional arts associations 20 Public opinion 21 Business opinion 21 Purpose of arts support 21 Methods of arts support 22 Education and training 23 Broadcasting 24 Arm's length principle 24 Devolution 25 Local government 25 Private patronage 25 'Only connect' 27 B. PARTICULAR Ministers and Departments 30 Arts Councils for Scotland and Wales 31 Arts Council of Great Britain 32 Museums and galleries 34 British Film Institute 35 Crafts and design 36 Regional Arts Associations 37 Local authorities 41 Wales 46 Support for artists 49 Support for various forms of art 55 Provision for the handicapped 59 Other recommendations 59 C.
    [Show full text]
  • Birmingham Show 2015 Texts
    AN ENDLESS SUPPLY What is the Art of Birmingham? Is there an accent to Birmingham’s art making? The use of comparatively cheap steam power space gave tremendous momentum to the development of British industry art in Birmingham; it can be said that during the hundred years from 1780 to 1880 seven years from 2008 to 2015 men artists were too occupied in business studio building and exploiting the new power project spaces, and too busy supplying the new markets updating their websites to have much time for reflection and to think very deeply about the look of the things they made. How is Birmingham useful for the production of art? John Baskerville was born in 1706. He was forty-five before he addressed his talent to punch cutting and printing. The type he designed was clear shaped and elegant and had a precision which one would expect to find from a craftsman writing master cutting letter shapes on steel punches. He was determined that his clean cut types should not be vitiated by imperfect press work or unsuitable paper surfaces. He therefore made plans for manufacturing his own ink and ‘hot pressing’ his paper so that the surface should be receptive of a crisp impression. With rare judgement he avoided ornament, considering that fine type, superbly printed, was the foundation of a beautiful and legible page. We all know how well he succeeded. In 1757 he completed his fine quartoLatin Virgil: it went forth to astonish all the librarians of Europe. TYPE / \ PAPER — INK The texts above are taken from ‘Opportunities’, a lecture delivered by Herbert Simon, Director of the Curwen Press, at the Birmingham School of Printing, Margaret Street, on 1st November 1951.
    [Show full text]