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Contemporary Art Society Annual Report 1993
THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period. -
PART IV CATALOGUES of Exhibitions,734 Sales,735 and Bibliographies
972 “William Blake and His Circle” PART IV CATALOGUES of Exhibitions,734 Sales,735 and Bibliographies 1780 The Exhibition of the Royal Academy, M.DCC.LXXX. The Twelfth (1780) <BB> B. Anon. "Catalogue of Paintings Exhibited at the Rooms of the Royal Academy", Library of the Fine Arts, III (1832), 345-358 (1780) <Toronto>. In 1780, the Blake entry is reported as "W Blake.--315. Death of Earl Goodwin" (p. 353). REVIEW Candid [i.e., George Cumberland], Morning Chronicle and London Advertiser, 27 May 1780 (includes a criticism of “the death of earl Goodwin, by Mr. Blake”) <BB #1336> 734 Some exhibitions apparently were not accompanied by catalogues and are known only through press-notices of them. 735 See G.E. Bentley, Jr, Sale Catalogues of Blake’s Works 1791-2013 put online on 21 Aug 2013 [http://library.vicu.utoronto.ca/collections/special collections/bentley blake collection/in]. It includes sales of contemporary copies of Blake’s books and manuscripts, his watercolours and drawings, and books (including his separate prints) with commercial engravings. After 2012, I do not report sale catalogues which offer unremarkable copies of books with Blake's commercial engravings or Blake's separate commercial prints. 972 973 “William Blake and His Circle” 1784 The Exhibition of the Royal Academy, M.DCC.LXXXIV. The Sixteenth (London: Printed by T. Cadell, Printer to the Royal Academy) <BB> Blake exhibited “A breach in a city, the morning after a battle” and “War unchained by an angel, Fire, Pestilence, and Famine following”. REVIEW referring to Blake Anon., "The Exhibition. Sculpture and Drawing", Morning Chronicle and London Advertiser, Thursday 27 May 1784, p. -
Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
Grayson Perry
GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art -
Press Release
Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis. -
Anselm Kiefer Bibliography
G A G O S I A N Anselm Kiefer Bibliography Selected Books and Catalogues: 2020 Dermutz, Klaus. Anselm Kiefer: Superstrings, Runes, The Norns, Gordian Knot. London: White Cube. 2019 Adriani, Götz. Baselitz, Richter, Polke, Kiefer: The Early Years of the Old Masters. Dresden: Michel Sandstein. Cohn, Daniele. Anselm Kiefer: Studios. Paris: Flammarion. Trepesch, Christof. Anselm Kiefer aus der Sammlung Walter (Augsburg, Germany: Kunstmuseum Walter. Dermutz, Klaus. Anselm Kiefer in Conversation with Klaus Dermutz. London: Seagull Books. Granero, Natalia, Götz Adriani, Jean-Max Colard, Anselm Kiefer, Gunnar B. Kvaran and Rainer Michael Mason. Anselm Kiefer - Livres et xylographies. Montricher: Fondation Jan Michalski pour l’écriture et la littérature, Oslo: Astrup Fearnley Museet. Chauveau, Marc and Anselm Kiefer. Anselm Kiefer à La Tourette. Paris: Bernard Chauveau Édition; New York: Gagosian, English edition, 2020. Baume, Nicholas, Richard Calvocoressi and Anselm Kiefer. Uraeus. New York: Gagosian. 2018 Amadasi, Giovanna, Matthew Biro, Massimo Cacciari, Gabriele Guercio. Anselm Kiefer: The Seven Heavenly Palaces. Milano: Pirelli HangarBiccoca and Mousse Publishing. Bastian, Heiner. Anselm Kiefer: Bilder / Paintings. Munich: Schirmer/Mosel. Kiefer, Anselm. Anselm Kiefer: Für Andrea Emo. Pantin/Paris: Galerie Thaddaeus Ropac. 2017 Chevillot, Chaterine, Sophie Blass-Fabiani, Véronique Mattiussi, Sylvie Patry, and Hélène Marraud. Kiefer-Rodin. Paris: Editions Gallimard. Knausgaard, Karl Ove, James Lawrence and Louisa Buck. Anselm Kiefer: Transition from Cool to Warm. New York: Rizzoli & Gagosian. Czeczot, Ivan, Klaus Dermutz, Dimitri Ozerkov, Mikhail Piotrovsky, Peter Sloterdijk. Anselm Kiefer: For Velimir Khlebnikov, Fates of Nations. St. Petersburg: The State Hermitage Museum. Stonard, Jean-Paul. Anselm Kiefer: Walhalla. London: White Cube. Clearwater, Bonnie, Norman Rosenthal and Joseph Thompson. -
Stephen Willats
PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
Aftershock: the Ethics of Contemporary Transgressive
HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death. -
Art Catalogue Introduction
Art Catalogue Introduction Welcome to the inaugural Green Creates… art exhibition. Artistic expression, in its many forms, has existed in every age, every culture, and every country. Art can be both rooted in history and a catalyst for change. It connects us to the past, expresses our views of the present and suggests new ideas and visions for the future. As such, it is only fitting that we should call upon the support of the arts’ community today, as we stand on the brink of an uncertain future, attempting to hold onto the values and achievements that make us proud to be British, whilst working towards a new and better tomorrow. ‘‘Green’ suggests healthy options and therefore Green Creates… is an opportunity for the arts community to show their support for the Green Party, our policies healthy outcomes. Green issues should be the first and our work, but also an example of art as a social commentary in a time of social, economic and political consideration in everything from housing, to health unrest. The theme of Green Voices called for artists to express their opinions on the issues of the day and they to education and beyond.’’ have produced work that encompasses everything from climate change to the ephemeral beauty of nature. Ralph Steadman We are delighted at the richness and diversity of the work that we have on display and to welcome you to this celebration of some of the different interpretations of what it means to be green today. Best wishes, Jonathan Bartley and Caroline Lucas Co-Leaders - Green Party of England and Wales 4 -
Grayson Perry: a Time-Line
Grayson Perry: A Time-line Grayson Perry: The Pre-Therapy Years Grayson Perry is one of the UK’s leading artists. The exhibition at the Holburne Museum focuses on his early work, from 1981 to 1994, when he employed various media and made his first works in clay. After a series of exhibitions in various small galleries, in 1994 his first mainstream show signaled his establish- ment, securing what he describes as his distinctive identity as ‘the transvestite potter’. Perry grew up in suburban Essex and sought refuge from a troubled childhood in an imaginary world ruled over by his teddy bear, Alan Measles. At Portsmouth Polytechnic and later, living in a London squat, he was part of a post-Punk group of artists, musicians and film-makers, particularly the Neo Naturists, a per- formance art collective connected to the New Romantic club scene. Perry has described this early period as the ‘pre-Therapy years’, a time when he explored his complex identity through his art, expressing an anger which would later be resolved through psychotherapy. His imagery could be deliberately shocking, sometimes combining Nazi symbols (a trait of British Punk), reli- gious iconography and graphic scenes of unorthodox sexual activity. At the same time, his work satirised such social themes as class and gender and, especially, the conventions of the art world of which he was increasingly a part. Grayson Perry’s Biography 1960 Grayson Perry born 24 March in Chelmsford, Essex 1963 Aged 3, he contracts measles. During his illness he bonds with a teddy bear, naming him Alan Measles. -
The Art of Noise: Conversations with Great Songwriters Online
gt6w1 [Download] The Art of Noise: Conversations with Great Songwriters Online [gt6w1.ebook] The Art of Noise: Conversations with Great Songwriters Pdf Free Daniel Rachel *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #204410 in Books Rachel Daniel 2014-10-07 2014-10-07Original language:EnglishPDF # 1 9.16 x 1.40 x 6.21l, .0 #File Name: 1250051290528 pagesThe Art of Noise Conversations with Great Songwriters | File size: 29.Mb Daniel Rachel : The Art of Noise: Conversations with Great Songwriters before purchasing it in order to gage whether or not it would be worth my time, and all praised The Art of Noise: Conversations with Great Songwriters: 1 of 1 people found the following review helpful. Inspiration for songwriter's old and new.By F. J. Souder IIIGreat book on songwriters and their methods and writing techniques. If you need some inspiration there's plenty here to read and draw from each interviewee. Good going Daniel.0 of 0 people found the following review helpful. Insight on Every PageBy A.Trendl HungarianBookstore.comAt first I thought Daniel Rachel had written a book all about the avant-garde synthpop group big in the 1980s. While that would no doubt be interesting, this is much more substantial.Essentially, it is a collection of interviews of songwriters as the title implies.Rachel begins each chapter with an essay leading into the interview.Who is interviewed? Mick Jones from the Clash, Annie Lennox, Jimmy Page, Sting, Ian Dury, Robin Gibb, Ray Davies and so on. Each is around 20 pages, give or take, with each Q/A a paragraph or two.