DOCSLIB.ORG

Lizzie Farey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Lizzie Farey Born ~ Singapore 1962 Education ~ Canterbury College of Art Foundation ~1979 Cardiff College of Art ~ 1980 Professional member of Visual Arts Scotland ~ 1999 Member of Contemporary Applied Arts. London ~ 2000 Lizzie's first trip to Japan, self- funded ~ April 2007 Awards ~ Appointed Specialist Advisor for Crafts Scottish Arts Council ~ 2009 Best Stand Award, (2008) Contemporary Craft Festival, Bovey Tracey Art & Craft Marketing Grant, Dumfries & Galloway Council ~ 2007 Creative Development Award, Scottish Arts Council ~ 2007 Awarded 'Best in Show' by Grand Designs Magazine at Origin, London. ~ 2006 Outward Mission to New York, UK Trade and Investment ~ 2006 'Talent Around Britain' BBC Homes and Antiques ~ 2004 Professional Development Grant, Scottish Arts Council ~ 2004 Artist Residency, Cove Park, Argyll ~ 2004 Arts and Crafts Marketing Grant Dumfries and Galloway Council ~ 2003 The Scottish Gallery Award, Visual Arts Scotland ~ 1999. The Worshipful Company of Basketmakers ~ 1997 The Worshipful Company of Basketmakers ~ 1992 Public Collections ~ National Museums Scotland. (2008) Priors Court School, Reading. The City Arts Centre, Edinburgh. The Shipley Art Gallery, Gateshead. The Royal Museum of Scotland, Edinburgh. Selected Past Exhibitions ~ 2014 .. 'COLLECT' The Saatchi Gallery, London. 'Spring Fling', Galloway Open Workshop Weekend. The Junction Gallery, Woodstock, Oxford. 'TASTE Contemporary Craft', Geneva, Switzerland. 2013 .. 'Make it Slow', Woodend, Scarborough, and touring. 'SOFA Chicago 2013', Chicago, U.S.A. 'Art in Action', Waterperry House, Oxfordshire 'From Bare Stems', High Cross House, Devon. 'Locating the Nest', Gracefield, Dumfries. 'Ten out of Ten', Devon Guild of Craftsmen. 2012 .. 'New Directions in Contemporary Crafts' The National Trust, Mottisfont Abbey, Romsey. 'Retro/Prospective, 25+ years of Art Textiles and Sculpture', Browngrotta Arts, Connecticut, U.S.A. 'SOFA Chicago', 2012. 'Revealed: A Familiar Landscape' Lizzie Farey and Angie Lewin The Scottish Gallery, Edinburgh. 'Locating the Nest' Royal Botanic Gardens, Edinburgh. 2011 .. 'Spirit of Air' (solo show, touring) Iona Gallery, Kingussie. St Fergus Gallery, Wick Inverness Museum & Art Gallery Swanson Gallery, Thurso 'Target the Heart' CAA and Electrum Gallery, London. 'Present Collectables' CAA, London 'Stimulus' Browngrotta Arts, U.S.A. 'Cheongju International Craft Biennale ' South Korea Contemporary Craft 'British Basketry' Ruthin Craft Centre 'The Swallow and the Hare' Designs Gallery, Castle Douglas 'Heart' New National Museum of Scotland 'International Textile Festival' Stroud 'SOFA New York' represented by Browngrotta Arts 'Recent Work' The Mill on the Fleet, Gatehouse of Fleet 2010 .. 'Spirit of Air' (solo show) The City Art Centre, Edinburgh. 'Contained Excitement' Cavin - Morris Gallery, New York 'Eco - Art' Materials Recycled, Repurposed, Re-envisioned Artifact Design Group. Connecticut. U.S.A 'Spirit Of Air' - Solo show on tour The Piece Hall, Halifax 'Treading Lightly' Yew Tree Gallery, Cornwall 'Spring Fling' Open Studio event in Dumfries & Galloway 'COLLECT' The Saatchi Gallery, London 'The 10th Wave III' Browngrotta Arts, Wilton Connecticut U.S.A. 'Solo Exhibition' Left Bank Gallery, Tarland, Aberdeenshire 2009 .. 'Wood, Willow and Paper' The Open Eye Gallery, Edinburgh. 'Working the Willows' Musgrove Willows, Somerset. 'Subtlety and Beauty' Gallerytop, Derbyshire. 'Celtic Connections' The Harley Gallery Shop, Nottinghamshire. 'Spirit of Air' Solo and touring exhibition with publication. Funded by Gracefield Arts Centre Dumfries and The City Art Centre, Edinburgh. 'Contemporary Craft Fair' Bovey Tracey. 'The 10th Wave III' Browngrotta Arts, Connecticut, U.S.A. 2008 .. European Baskets National Craft Museum, Kilkenny Ireland, and touring. Contemporary Craft Fair, Bovey Tracey. 'Spring into Action' Mathew Burt Showroom Hindon, Salisbury. The Gallery at Waterperry, Oxford. 2007 .. 'East Weaves West', Basketry form Japan and Britain, The Collins Gallery, Glasgow (and touring) 'Origin', Somerset House, London 'Rapture', The Open Eye Gallery, Edinburgh 'Organic' ~Sarah Wiseman Gallery, Oxford 'Seeing Dragons in the Clouds' ~ The Shipley Art Gallery, Gateshead. (touring) 'Urban Field' ~ Contemporary Applied Arts, Percy Street, London. 'The Cutting Edge' ~ Scotland's Contemporary Crafts, National Museum of Scotland, Chambers Street, Edinburgh. (then touring) Demonstration of work at Hawthornden Court, National Museum of Scotland, Edinburgh. 'Collect' at the V & A, London. (demonstrating in the Japan Gallery) 2006 .. 'Bonds', Designs Gallery, Castle Douglas. 'SOFA' Chicago, represented by Browngrotta Arts. 'Origin: The London Craft Fair 2006', Somerset House, London. 'Spring Fling', Galloway Open Workshop Weekend. 'Collect' at the V & A, London. (Flow Gallery) 2005 .. 'Spring Fling', Galloway Open Workshop Weekend. 'Christmas Present', Shipley Art Gallery, Gateshead. 'Chelsea Crafts Fair', Old Town Hall, Chelsea. The Scottish Gallery at Greywalls, Gullane. 'Contemporary Crafts', The Medici Gallery, London. 'Chelsea Flower Show', Sculpture in The Boreal Garden. 'Spirit of Liberty', Libertys, London. 'Collect' at the V & A, London. (Flow Gallery) 2004 .. 'Focus', Contemporary Applied Arts, London. The Affordable Art Fair, London. 2003 .. The Hub, Sleaford, Lincolnshire. 2002 .. Weaving Stories, City Arts Centre, Edinburgh. Contemporary Decorative Arts, Sotheby's, London 2001 .. The Unexpected, Sotheby's, New York. The Basket Show, Furniture Co, New York. The Garden Show, Scottish Gallery, Edinburgh. Selected Exhibitions ~ continued 2001 .. The V & A Museum, London. The Glasgow Art Fair, Glasgow. From Across the Pond, Browngrotta Arts, USA. Out-Moded, Sotheby's, London. 2000 .. Contemporary British Baskets, Oxford Gallery. Scotland House, Brussels. Egg, London. In Focus, Sotheby's London. Selected Exhibitions ~ continued 1999 .. 25 for the 25th, Browngrotta Arts, USA Contemporary International Basketmaking, The Crafts Council, London. Opening Exhibition, Flow, London 1998 .. Crafts Council Showcase, London Making Weaves, National Museum of Scotland, Edinburgh. The Medici Gallery, London. Installations ~ 2002 .. Way Merks Project, Scottish Borders. Glasgow Homeopathic Hospital Commission. 2000 .. Coming to our Senses, Craftspace Touring. Living Willow House, private commission. 1999 .. Living Willow Installation, Hartlepool. Willow Seat, Dumfries and Galloway Council. Archive Section ~ (articles reproduced in full) 'Lateral Thinking' House & Garden, May 2014 'Making In Good Time' Crafts, November 2013 FT 'How To Spend It' magazine 'Scotland On Sunday' Professor Simon Olding speaking at 'Spirit of Air' The Herald ~ July, 2010 Craft Arts International ~ 2008 Period Living ~ November, 2007 The Independent On Sunday ~ 21st May, 2006 The Times Magazine ~ Saturday, 23/07/2005 Inspirations Magazine ~ August 2005 Scotland on Sunday, At Home ~ June 2005 Scotsman Magazine ~ May2005 Scotland on Sunday, Spectrum ~ April 2005 The Press and Journal ~ April 2005 Homes and Interiors, Scotland ~ Jan/Feb 2005 BBC Homes and Antiques Magazine ~ November 2004 BBC Homes and Antiques Magazine ~ July 2004 Scotland on Sunday Magazine ~ At Home (27/7/2003) Crafts Magazine ~ Cover Article (November 1997) Reforesting Scotland ~ Artists in Wood (Summer 2000) Gardens Illustrated ~ Profile (July / August 2000) Resurgence ~ Containers of the Countryside (Nov 2001) Publications ~ 2002 The Complete Craft Book, Murdoch Books 2000 Scotland's Crafts, NMS Publishing Ltd 1999 Contemporary International Basketmaking, Merrell Holberton 1999 Garden Crafts, Conran Octopus Reviews and Press Coverage ~ 2003 Sunday Telegraph Magazine, March 30th 2002 Crafts, September 2001 Daily Telegraph, May 12th 2001 Vogue, February 2001 Country Life, February 15th 2001 World of Interiors, February 2000 Fibrearts, USA, January 1999 Glasgow Herald Magazine .
Recommended publications
  • National Collecting Scheme Scotland National

    National Collecting Scheme Scotland National

    National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008.
  • Albert Irvin, Beacon II, 1994 Acrylic on Canvas 186 X 160Cm [Detail] Albert Irvin

    Albert Irvin, Beacon II, 1994 Acrylic on Canvas 186 X 160Cm [Detail] Albert Irvin

    Albert Irvin, Beacon II, 1994 Acrylic on canvas 186 x 160cm [detail] Albert Irvin Albert Irvin OBE RA was born in 1922 in London, where he continued to live and work throughout his life. In the early 1940’s Irvin attended Northampton School of Art. His studies were interrupted when he was called up, serving as a navigator in the Royal Air Force during the Second World War. After the war ended he enrolled at Goldsmiths College in London to resume his studies. In 1962, he returned to Goldsmiths where he taught for twenty years. He also taught as visiting lecturer at art colleges throughout Britain. Irvin’s first solo exhibition was in 1960 at 57 Gallery, Edinburgh followed by New Art Centre in London in 1963 and 1965. He went on to exhibit extensively throughout Europe, the USA and Australia. A major retrospective of his work from 1960 to 1989 was held at the Serpentine Gallery, London in 1990. Irvin was awarded a Travel Award to America by the Arts Council in 1968 and later received an Arts Council Major Award In 1970 he moved into his Studio in Stepney Green and continued travelling to work there from his home at least 3 times a week into his 90s. He formed a working relationship with Advanced Graphics London in 1979, and began producing screenprints with them - the start of a very successful venture. 2 Irvin joined Gimpel Fils in 1982 they had regular, solo exhibitions of his work throughout his life. His works are held in many public collections including Tate, Royal Academy and the Victoria and Albert Museum, London; The British Council; Irish Museum of Modern Art, Dublin; Manchester City Art Gallery; Leeds Art Gallery and The Art Gallery of New South Wales in Sydney.
  • Newsletter Contents 07-08

    Newsletter Contents 07-08

    Newsletter No 28 Summer/Autumn 2008 He is currently working on a book on the nineteenth- From the Chair century travel photographer Baron Raimund von Stillfried. Welcome to the first of our new shorter-but- hopefully-more-frequent newsletters! The main casualty has been the listings section, which is no New SSAH Grant Scheme longer included. Apologies to those of you who found this useful but it takes absolutely ages to compile and As you’ll know from last issue, we recently launched a the information should all be readily available scheme offering research support grants from £50 to elsewhere. Otherwise you should still find the same £300 to assist with research costs and travel mix of SSAH news and general features – if you have expenses. We’re delighted to say that several any comments on the newsletter or would like to applications have already been received and so far we contribute to future issues, please let us know! have awarded five grants to researchers from around Now, let’s waste no more time and get on the world. Here we present the first two reports with the latest news… from grant recipients on how the money has been Matthew Jarron spent. Committee News Gabriel Montua, Humboldt-Universität Berlin, Germany As promised last issue, we present a profile of our newest committee member: The generous SSAH grant of £206.96 enabled me to cover my travel expanses to the Scottish National Luke Gartlan Gallery of Modern Art in Edinburgh, where I consulted item GMA A42/1/GKA008 from the Luke is a lecturer in the School of Art History at the Gabrielle Keiller Collection: letters exchanged University of St Andrews, where he currently teaches between Salvador Dalí and André Breton.
  • Graeme Todd the View from Now Here

    Graeme Todd the View from Now Here

    GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect.
  • List of Scottish Museums and Libraries with Strong Victorian Collections

    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
  • Michael Craik

    Michael Craik

    MICHAEL CRAIK EDUCATION 1999 - 2000 MA European Fine Art, Winchester School of Art, Barcelona / Winchester 1992 - 1996 BA (Hons) Fine Art, Gray’s School of Art, Aberdeen SOLO AND JOINT EXHIBITIONS 2020 Solo exhibition, Echo, &Gallery, Edinburgh 2018 Continuum, (with Gisela Hoffmann), Galerie Schmidt & Schütte, Cologne Solo exhibition at Zembla, Hawick Percezione, (with Sonia Costantini), THECA Gallery, Milan Two person exhibition (with Jeffrey Cortland Jones), &Gallery, Edinburgh 2017 The Relative Medium (with Eric Cruikshank), Galleri Konstepidemin, Gothenburg 2016 Intime, Galerie Weissraum, Kyoto 2015 Ways of Seeing (with Eric Cruikshank), Howden Park Centre, Livingston 2013 Build (with Merja Herzog-Hellsten), Galerie Salon 13, BOK, Offenbach Im Spiegel des anderen (with Eric Cruikshank), Galerie Albrecht, Berlin 2007 Razed To The Ground, Amber Roome Contemporary Art, Edinburgh 2006 Plate Tectonics, Galería Alonso Vidal, Barcelona Solo exhibition, An Tuireann Arts Centre, Portree, Isle of Skye 2005 Solo exhibition, The Hallion Club, Edinburgh Solo exhibition, Amber Roome Contemporary Art, Edinburgh 2004 Solo exhibition, Gracefield Arts Centre, Dumfries 2003 Members Lounge, Collective Gallery, Edinburgh Solo exhibition, Friction Gallery, Edinburgh 2002 Solo exhibition, Habitat, Edinburgh Solo exhibition, Deutsche Bank, Edinburgh 2000 Gap, Panorama Gallery, Barcelona ELECTED GROUP EXHIBITIONS & FAIRS 2021 Tiny yet Mighty, &Gallery, Edinburgh 2020 Art Matters, online exhibition at Galerie Biesenbach, Cologne Winter Exhibition, &Gallery,
  • FULL ATTENDEES Individuals

    FULL ATTENDEES Individuals

    Contemporary Collections and Collecting in Scotland Series Record of Attendence Individuals First name Surname Organisation Position Jennifer Melville Aberdeen Art Gallery Keeper of Fine Art Liesbeth Bik Artist Christine Borland Artist Rose Frain Artist Jos van der Pol Artist Gerrie van Noord Artist Pension Trust, London Co-Director Andrew Brown Arts Council England Senior Strategy Officer - Visual Arts Louise Shelley Centre for Contemporary Art, Glasgow Head of Programmes Kate Gray Collective Gallery, Edinburgh Director Jenny Crowe Consultant Moira Jeffrey Consultant Kirstie Skinner Consultant Elaine Martay Cultural Strategy and Diplomacy Team, Scottish GoveInternationalrnment Policy Mark O'Neill Culture Sport Glasgow Head of Arts and Museums Ben Harman Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Victoria Hollows Culture Sport Glasgow / Gallery of Modern Art, GlasgowMuseum Manager Sean McGlashan Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Margaux Achard Culture Sport Glasgow/ Kelvingrove Jenny Brownrigg Duncan of Jordanstone College of Art and Design Exhibitions Curator Edwin Janssen Duncan of Jordanstone College of Art and Design Artist/Academic Leader Laura Simpson Duncan of Jordanstone College of Art and Design Assistant Curator, Exhibitions Graham Domke Dundee Contemporary Arts Curator Clive Gillman Dundee Contemporary Arts Director Judith Winter Dundee Contemporary Arts Deputy Director and Head of Programmes Joanne Brown Edinburgh Art Festival Director Ian
  • Glasgow Museums (£52,145), City of Edinburgh Museums and Galleries (£24,250), the Hunterian (£18,329) and Aberdeen Art Gallery and Museums (£17,027)

    Glasgow Museums (£52,145), City of Edinburgh Museums and Galleries (£24,250), the Hunterian (£18,329) and Aberdeen Art Gallery and Museums (£17,027)

    National Fund for Acquisitions Grants Paid 2010–2011 National Fund for Acquisitions Grants Paid 2010–2011 Hazel Williamson National Fund for Acquisitions Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF Tel 0131 247 4106 email [email protected] Cover: Colour woodblock print, Kyōbashi Takegashi from Meisho Edo Hyakkei, 1857, by Utagawa Hiroshige. Acquired by The Hunterian with a grant from the National Fund for Acquisitions. National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with curatorial staff at National Museums Scotland and the Directors and staff of the National Galleries of Scotland and the National Library of Scotland who provide expert advice to the Fund. While recognising that the financial climate is extremely difficult, National Museums Scotland was particularly dismayed to learn of a 25% cut to the NFA’s already limited funding, reducing the grant to only £150,000 in financial year 2011/12. NFA funding had remained at £200,000 per annum since 1996, a figure which in real terms has declined very considerably in value during the subsequent fifteen years. Clearly the extent of the cut means that the NFA cannot support collecting in Scotland as effectively as we would wish.
  • 29 July–29 August 2021 Edinburghartfestival.Com #Edartf

    29 July–29 August 2021 Edinburghartfestival.Com #Edartf

    Platform: 2021 Art Across the Capital Commissions Programme Art is Back Explore Platform: 2021, our exhibition for early As galleries reopen after many months of closure, Our 2021 programme features new commissions We are so delighted to return this year, to work career artists, with new work from Jessica Higgins, this year, more than any, we are proud to cast a and UK premieres by leading international artists, with partners across the city, to showcase the work Danny Pagarani, Kirsty Russell and Isabella Widger spotlight on the uniquely ambitious, inventive and including new work by Sean Lynch co-commissioned of artists from Scotland, the UK and around the world. presented at our festival home in the Institut français thoughtful programming produced each year by with Edinburgh Sculpture Workshop and by Emeka Some exhibitions are newly made in response to the d’Ecosse. While visiting you can also browse festival Edinburgh’s visual art community. Ogboh with Talbot Rice Gallery; alongside the UK seismic shifts of the past year; others have been many merchandise and find out more about the exhibitions premiere of Isaac Julien’s Lessons of the Hour, presented years in the planning; but all are the unique, authentic, and events taking place across the city at our With over 20 partner galleries across the capital, in partnership with National Galleries of Scotland. and thoughtful products of our city’s extraordinarily Festival Kiosk. we encourage you to explore the programme and We are also proud to collaborate with Associate Artist, rich visual art scene. support the incredible visual art organisations that Tako Taal, on her programme What happens to desire… Festival Kiosk the city has to offer.
  • Annual Review 2017–18 National Galleries of Scotland Annual Review

    Annual Review 2017–18 National Galleries of Scotland Annual Review

    Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh.
  • Amelia Jones/Andrew Stevenson, Performing the Body

    Amelia Jones/Andrew Stevenson, Performing the Body

    undergraduate. The selection or the material Andy Warhol means that students can compare different White Car Crash viewpoints on roughly the same area easily - 1963 three of the four chapters in Part I deal with classical Indian art and architecture. The downside is a certain one-sidedness to a book that ostensibly deals 11ith cultural difference in all its manifestations in the world of visual culture. However, this .can be defended as the comparison between James Fergusson, Ananda Coomaraswamy and Partha ~litt er is an excellent way of introducing students to precisely the conclu sio ns Thomas heads toward s. There's also a neat juxtaposition between Jantjes' welcoming of difference and hybridity in contemporary visual culture, and Araeen's closing scepticism. I Niru Ratnam is a writer and art historian. Performativity ........................................................................ To Say is To Do Mark Harris Perfonning the Body/Perjonning the Text, eds Amelia Jones and Andrew Stephenson, Routledge, London, 1999, 306pp, 66 ill us, p/b, £15..99, 0 415 19060 6, h/b, £50, 0 415 19159 2. This is a diverse collection of 18 texts that evolved from conferences on performance and performativity organised in 1997 by edi­ tors Amelia Jones and Andrew Stephenson. To the editors, this variety of essays is justi­ fied as a way of disrupting traditional models down again. This is too intricate an issue to though when Jones and Stevenson extend it of art history. Their goal is nothing less than settle \vith off the shelf teleologies like Kant to any cultural commentary, such as art to bring about a revolution in the commen­ to Modernism.
  • City, University of London Institutional Repository

    City, University of London Institutional Repository

    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................