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Mapping Artists' Professional Development Programmes in the Uk: Knowledge and Skills
1 REBECCA GORDON-NESBITT FOR CHISENHALE GALLERY SUPPORTED BY PAUL HAMLYN FOUNDATION MARCH 2015 59 PAGES MAPPING ARTISTS’ PROFESSIONAL DEVELOPMENT PROGRAMMES IN THE UK: KNOWLEDGE AND SKILLS 2 COLOPHON Mapping Artists’ Professional Development This research was conducted for Chisenhale Programmes in the UK: Knowledge and Skills Gallery by Rebecca Gordon-Nesbitt with funding from Paul Hamlyn Foundation. Author: Rebecca Gordon-Nesbitt Editors: Polly Staple and Laura Wilson → Chisenhale Gallery supports the production Associate Editor: Andrea Phillips and presentation of new forms of artistic delivery Producer: Isabelle Hancock and engages diverse audiences, both local and Research Assistants: Elizabeth Hudson and international. Pip Wallis This expands on our award winning, 32 year Proofreader: 100% Proof history as one of London’s most innovative forums Design: An Endless Supply for contemporary art and our reputation for Commissioned and published by Chisenhale producing important solo commissions with artists Gallery, London, March 2015, with support from at a formative stage in their career. Paul Hamlyn Foundation. We enable emerging or underrepresented artists to make significant steps and pursue Thank you to all the artists and organisational new directions in their practice. At the heart of representatives who contributed to this research; our programme is a remit to commission new to Regis Cochefert and Sarah Jane Dooley from work, supporting artists from project inception Paul Hamlyn Foundation for their advice and to realisation and representing an inspiring and support; and to Chisenhale Gallery’s funders, challenging range of voices, nationalities and art Paul Hamlyn Foundation and Arts Council England. forms, based on extensive research and strong curatorial vision. -
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, -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
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. -
Hannah Black ‘Some Context’ 22 September – 10 December 2017
HANNAH BLACK ‘SOME CONTEXT’ 22 SEPTEMBER – 10 DECEMBER 2017 READING LIST A reading list of texts, books and articles has been compiled in collaboration with Hannah Black to accompany her exhibition, Some Context, at Chisenhale Gallery. This resource expands on ideas raised through Black’s new commission. Included is previous writing by Black, such as her publications Dark Pool Party (DOMINICA/Arcadia Missa, 2016) and Life, with Juliana Huxtable, (mumok, 2017); essays and books that provide reference and further context to the work; and a selection of writings by contributors to The Situation (2017). Abreu, M. A. (2017). Three Poems by Manuel Arturo Abreu. [online] The Believer Logger. Available at: https://logger.believermag.com/post/three-poems-by-manuel-arturo-abreu [Accessed 8 Sep. 2017]. Aima, R. (2017). Body Party: Hannah Black. Mousse Magazine, [online] (57). Available at: http://moussemagazine.it/rahel-aima-hannah-black-2017/ [Accessed 7 Sep. 2017]. Black, H. (2014). My Bodies. [video] Available at: https://vimeo.com/85906379 [Accessed 7 Sep. 2017]. Black, H. (2016). Apocalypse Tourism. [online] The Towner. Available at: http://www.thetowner.com/apocalypsetourism/ [Accessed 9 Sep. 2017]. Black, H. (2015). Long term effects. In: K. Williams, H. Black, R. Johnson, A. Zett, S. M Harrison and S. Kotecha, After the eclipse. [online] Available at: http://www.annazett.net/pdf/AFTER%20THE%20ECLIPSE.pdf [Accessed 7 Sep. 2017]. Black, H. (2015). Some of the police officers spent up to 10 years pretending to be people who had died. In: E. Ryan, ed., Oh wicked flesh!. London: South London Gallery. Black, H. (2016). [Readings] | A Kind of Grace, by Hannah Black | Harper’s Magazine. -
Art and Visual Studies
Volume 7, Tome III: Volume 8, Tome II: The Courtyard House The Galerie Espagnole Leone Leoni and the Status Kierkegaard and His Danish Kierkegaard’s International From Cultural Reference to and the Museo Nacional of the Artist at the End of Contemporaries – Literature, Reception – Southern, Universal Relevance 1835–1853 the Renaissance Edited by Nasser O. Rabbat, Massachusetts Drama and Aesthetics Central and Eastern Europe Saving Spanish Art, or the Politics Kelley Helmstutler Di Dio, Institute of Technology, USA. Published in University of Vermont, USA Edited by Jon Stewart, Søren Kierkegaard Edited by Jon Stewart, University of association with the Aga Khan Program of Patrimony Research Centre, University of Copenhagen, Copenhagen, Denmark for Islamic Architecture Alisa Luxenberg, University of Georgia, USA VIsual Culture IN EARLY MODERNITY Denmark September 2010 290 pages KIERKEGAARD RESEARCH: SOURCES, RECEPTION May 2008 300 pages Hardback 978-0-7546-3843-8 £65.00 $130.00 December 2010 268 pages KIERKEGAARD RESEARCH: SOURCES, RECEPTION AND RESOURCES Hardback 978-0-7546-6190-0 £70.00 $124.95 Hardback 978-0-7546-6234-1 £65.00 $130.00 AND RESOURCES www.ashgate.com/isbn/9780754638438 www.ashgate.com/isbn/9780754661900 March 2009 342 pages www.ashgate.com/isbn/9780754662341 December 2009 324 pages Hardback 978-0-7546-6350-8 £70.00 $140.00 Hardback 978-0-7546-6874-9 £75.00 $134.95 www.ashgate.com/isbn/9780754663508 Craft, Space and Interior German Romantic www.ashgate.com/isbn/9780754668749 Life Stories of Women Design, 1855–2005 Painting Redefined Artists, 1550–1800 Volume 8, Tome III: Edited by Sandra Alfoldy, NSCAD University, Volume 8, Tome I: Halifax, Canada, and Janice Helland, Nazarene Tradition and the An Anthology Kierkegaard’s International Queen’s University, Kingston, Canada Kierkegaard’s International Narratives of Romanticism Julia K. -
TESS JARAY Present Lives and Works in London, UK 1957-60 Slade
TESS JARAY Present Lives and works in London, UK 1957-60 Slade School of Fine Art, University College, London, UK 1954-57 Saint Martins School of Art and Design, London, UK 1938 Moved to UK 1937 Born in Vienna, Austria Public Collections Abbot Hall Art Gallery, Kendal, UK Arts Council Collection, London, UK Contemporary Art Society, London, UK Graves Art Gallery, Sheffield, UK Museum of Contemporary Art, Belgrade, Serbia Museum des 20 Jahrhunderts, Vienna, Austria Städtisches Museum, Leverkusen, Germany Sundsvall Museum, Sundsvall, Sweden Szépmüvészeti Múzeum, Budapest, Croatia The British Council, London, UK The British Museum, London, UK The Fogg Art Museum, Harvard University, MA, US The Sainsbury Centre, Norwich, UK The Tate Collection, London, UK The Victoria and Albert Museum, London, UK University College London, London, UK Walker Art Gallery, Liverpool, UK Western Australia Art Gallery, Perth, Australia Whitworth Art Gallery, Manchester, UK Worcester City Art Gallery and Museum, Worcester, UK Select Solo Exhibitions 2018 Tess Jaray: Aleppo, Exile Gallery, Berlin, Germany 2017 Tess Jaray, Early Paintings, Sotheby’s S|2, London, UK Tess Jaray, Djanogly Art Gallery, Nottingham, UK Tess Jaray: Into Light, Marlborough Fine Art, London UK Tess Jaray: The Light Surrounded, Albertz Benda, New York, NY 2016 Tess Jaray: Dark & Light, Megan Piper, London, UK 2015 Extra Terrestrial, East Gallery NUA, Norwich University of the Arts, Norwich, UK 2014 The Landscape of Space, Djanogly Art Gallery, Nottingham, UK 2013 Drawings, Karsten Schubert, -
The Penthouses | Central Street, Clerkenwell EC1
www.east-central.london The Penthouses | Central Street, Clerkenwell EC1 Welcome to the East Central Penthouse Collection. Four 3 bedroom lateral apartments located on the upper most level of this stylish new Clerkenwell, EC1 development. Each zinc clad penthouse features spacious light filled open plan living, and private south facing terraces with uninterrupted Clerkenwell views. Specification and workmanship are of the highest quality. All penthouse interiors are designed and specified by Love Interiors and feature fitted wardrobes to master suites, high gloss kitchens by London designer Urban Myth and hotel style bathrooms and en-suites. 01 E C A beguiling combination of old and new, of Eclectic Clerkenwell tradition and progress, Clerkenwell lies at the heart of modern London. East Central offers the quintessential London life, with one foot in the elegant, bohemian tradition of Bloomsbury and one foot in the booming technological hub of Shoreditch. This state of the art development of stunning apartments and penthouses combines cutting edge contemporary architecture in its stone and glass design, with the effortless character of its historic EC1 location. Follow in the footsteps of Dickens, Lenin, Cromwell, of kings themselves, as you step into A Portrait of the Area 21st Century Clerkenwell living. 02 03 E C East London has a market tradition dating back to the 12th Century. Historic Whitecross Street market, located between Old Street and Barbican, is a highly acclaimed haven of street foods making it a favourite lunchtime venue. Aside from the many local markets, some of the most critically celebrated and popular restaurants in London are to be found within a short walk of Central Street. -
Frank Bowling Cv
FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery, -
Phill Hopkins CV January 2017
Phill Hopkins CV www.phill-hopkins.co.uk Phill Hopkins was born and grew up in Bristol, UK. He studied at Goldsmiths College in London from 1982-1985 and was taught by Michael Craig-Martin, Richard Wentworth and Carl Plackman. He lives and works in Leeds, UK. Public Collections Nanjing Baijia Lake International Culture Investment Group, China MIMA / Middlesbrough Institute of Modern Art, UK The Imperial War Museum, London, UK The Henry Moore Centre for the Study of Sculpture, Leeds Stadt Dortmund, Germany The Hungarian Museum of Photography, Kecskemet, Hungary Leeds Art Gallery, UK Is included in private collections internationally Residencies 2016 &model Gallery, Leeds, UK. Solo Exhibitions 2017 Galerie Pack of Patches, Jena, Germany October 2017 2016 Refugees - New Ceramics - Horsforth Walk of Art, Firefly Pottery, Leeds, UK Below - 108 Fine Art, Harrogate, UK. 2015 Daily - BasementArtsProject, Leeds UK. Includes 'Daily' newspaper publication. Part of ‘About Time’, a satellite programme that coincided with British Art Show 8. Falling/Tumbling/Rolling - Paintings about Gaza - The Allotment Gallery - Greenbelt Festival, Northamptonshire UK No Mandate - & Model Gallery, Leeds, UK 2014 Explosions - Basement Arts Project at Showcase Spectacular, Leeds Corn Exchange, Leeds UK The Allotment Gallery - Greenbelt Festival, Northamptonshire UK Easter (Gas Variations) - St George’s Church, Leeds UK Maidan Variations - Kiiro Gallery, St Helens, UK 2013 Recent ‘Paint Chart’ Drawings - Roller Gallery, UK Works from the Fukushima Series - Departure, London UK Works from the Fukushima Series - Devonshires, London UK Das Wandern - DWF 4, 64 Wellington Street, Leeds UK 2012 5am There - The Muammar Gaddafi Variations - Bank Street Arts, Sheffield UK 2011 PLACE: Installation and other works by Phill Hopkins - HoMA, Leeds UK 2008 Seven Drunken Nights - Greenbelt Festival, Cheltenham UK 1996 Domestic Airspace - Brahm Gallery, Leeds UK 1994/5 Recent Drawing - Leeds Art Gallery UK 1991/2 Flyers – Recent Sculptures & Drawings - Leeds Art Gallery UK 1991 Sculpture - Elmete Hall. -
JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs. -
Curriculum Vitae
H A I N E S G A L L E R Y DAVID NASH Born in Surrey, England, 1945 Lives and works in Blaenau Ffestiniog, North Wales, UK EDUCATION 1965 Kingston College of Art, UK 1970 Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 2019 David Nash: 200 Seasons, Towner Art Gallery, Eastbourne, UK David Nash: Trees, Galerie Lelong & Co., Paris, France David Nash: Sculpture through the Seasons, National Museum Cardiff, Wales 2018 Tout jaune, Galerie Simon Blais, Montreal, Canada Columns, Galerie Lelong & Co., Paris, France David Nash: Nature to Nature, Fondation Fernet-Branca, Saint-Louis, France David Nash: Wood, Metal, Pigment, Annely Judah Fine Art, London, UK First The Tree, Then The Shape, Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany 2017 With Space in Mind, Tremenheere Sculpture Gardens, Penzance, UK New Beginnings, Alan Cristea Gallery, London, UK David Nash, Galeria Simon Blais, Montreal, Canada David Nash, Galeria Alvaro Alcazar, Madrid, Spain Art Project, Krauhuegel & Art and Church, Kollegienkirche, Salzburg, Austria Tree Seasons, Plas Glyn-y-Weddw, Gwynedd, Wales 2016 David Nash: Columns, Peaks and Torso, Galerie Lelong, Paris, France 2015 With Space in Mind, Alan Cristea Gallery, London, UK Three Black Humps, Coalbrookdale Museum of Iron, Shropshire, UK King & Queen I, Keepers House The Royal Academy, London, UK 2014 David Nash Stencil Prints, Abbot’s Room, Kloster Schoenthal, Switzerland David Nash: Prints and Multiples, Galerie Lelong, Paris, France David Nash, Kukje Gallery, Seoul, South Korea David Nash: From