Antony Gormley Free
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Mw 6.3 Christchurch, New Zealand Earthquake of 22 February 2011
THE MW 6.3 CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT THE CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT Sean Wilkinson Matthew Free Damian Grant David Boon Sarah Paganoni Anna Mason Elizabeth Williams Stuart Fraser Jenny Haskell Earthquake Field Investigation Team Institution of Structural Engineers 47 - 58 Bastwick Street London EC1V 3PS Tel 0207235 4535 Fax 0207235 4294 Email: [email protected] June 2011 The Mw 6.2 Christchurch Earthquake of 22 February 2011 1 CONTENTS ACKNOWLEDGEMENTS 3 1. INTRODUCTION 4 2. REGIONAL TECTONIC AND GEOLOGICAL SETTING 6 3. SEISMOLOGICAL ASPECTS 12 4. NEW ZEALAND BUILDING STOCK AND DESIGN PRACTICE 25 5. PERFORMANCE OF BUILDINGS 32 6. PERFORMANCE OF LIFELINES 53 7. GEOTECHNICAL ASPECTS 62 8. DISASTER MANAGEMENT 96 9. ECONOMIC LOSSES AND INSURANCE 108 10. CONCLUSIONS 110 11. REFERENCES 112 APPENDIX A: DETAILED RESIDENTIAL DAMAGE SURVEY 117 The Mw 6.2 Christchurch Earthquake of 22 February 2011 2 ACKNOWLEDGEMENTS The authors would like to express their thanks to the many individuals and organisations that have assisted with the EEFIT mission to Christchurch and in the preparation of this report. We thank Arup for enabling Matthew Free to attend this mission and the British Geological Survey for allowing David Boon to attend. We would also like to thank the Engineering and Physical Sciences Research Council for providing funding for Sean Wilkinson, Damian Grant, Elizabeth Paganoni and Sarah Paganoni to join the team. Their continued support in enabling UK academics to witness the aftermath of earthquakes and the effects on structures and the communities they serve is gratefully acknowledged. -
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. -
BLIND-LIGHT-Sean-Kelly-Gallery
Sean Kelly Gallery 528 West 29 Street 212 239 1181 New York, NY 10001 www.skny.com ANTONY GORMLEY Blind Light October 26 – December 1, 2007 Sean Kelly is delighted to announce a major exhibition of new work by Antony Gormley. The opening of the exhibition will take place on Thursday, October 25th from 6pm until 8pm. The artist will be present. The centerpiece of Gormley’s ambitious exhibition is a room-sized installation that occupies the main gallery entitled Blind Light . Blind Light is a luminous glass room filled with a dense cloud of mist. Upon entering the room-within-a-room, the visitor is disoriented by the visceral experience of the fully saturated air, in which visibility is limited to less than two feet. The very nature of one’s sense of one’s own body and its relationship in space to others is challenged. In Gormley’s words: Architecture is supposed to be the location of security and certainty about where you are. It is supposed to protect you from the weather, from darkness, from un - certainty. Blind Light undermines all of that. You enter this interior space that is the equivalent of being on top of a mountain, or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work. Blind Light was included this summer in Gormley’s hugely acclaimed exhibition at the Hayward Gallery, London, to unprecedented public and critical approbation. -
Guide to Liverpool Waterfront
Guide to Liverpool Waterfront “Three Graces” – Together the Royal Liver Building, Cunard Building and the Port of Liverpool Building make up the Mersey’s ‘Three Graces’ and are at the architectural centre of Liverpool’s iconic waterfront. A massive engineering project has recently extended the canal in front of these three buildings, adding beautifully landscaped seating areas and viewpoints along the canal and the river. Museum of Liverpool – this brand new museum, opened in 2011 is a magnificent addition to Liverpool’s waterfront. Celebrating the origins and heritage of the city, it features collections from National Museums Liverpool that have never been seen before. Otterspool Promenade – The construction of Otterspool Promenade (1950) provided both a new amenity for Liverpool and an open space dividend from the disposal of Mersey Tunnel spoil and household waste; a project repeated three decades later to reclaim the future International Garden Festival site. A favourite with kite fliers this often overlooked wide open space is perfect for views of the river and picnics Antony Gormley’s “Another Place” - These spectacular sculptures by Antony Gormley are on Crosby beach, about 10 minutes out of Liverpool. Another Place consists of 100 cast-iron, life-size figures spread out along three kilometres of the foreshore, stretching almost one kilometre out to sea. The Another Place figures - each one weighing 650 kilos - are made from casts of the artist's own body standing on the beach, all of them looking out to sea, staring at the horizon in silent expectation. Mersey Ferry - There's no better way to experience Liverpool and Merseyside than from the deck of the world famous Mersey Ferry listening to the commentary. -
PRESS 2007 Eimear Mckeith, 'The Island Leaving The
PRESS 2007 Eimear McKeith, 'The island leaving the art world green with envy', Sunday Tribune, Dublin, Ireland, 30 December 2007 Fiachra O'Cionnaith, 'Giant Sculpture for Docklands gets go-ahead', Evening Herald, Dublin, Ireland, 15 December 2007 Colm Kelpie, '46m sculpture planned for Liffey', Metro, Dublin, Ireland, 14 December 2007 Colm Kelpie, 'Plans for 46m statue on river', Irish Examiner, Dublin, Ireland, 14 December 2007 John K Grande, 'The Body as Architecture', ETC, Montreal, Canada, No. 80, December 2007 - February 2008 David Cohen, 'Smoke and Figures', The New York Sun, New York, USA, 21 November 2007 Leslie Camhi, 'Fog Alert', The Village Voice, New York, USA, 21 - 27 November 2007 Deborah Wilk, 'Antony Gormley: Blind Light', Time Out New York, New York, USA, 15 - 21 November 2007 Author Unknown, 'Blind Light: Sean Kelly Gallery', The Architect's Newspaper, New York, USA, 14 November 2007 Francesca Martin, 'Arts Diary', Guardian, London, England, 7 November 2007 Will Self, 'Psycho Geography: Hideous Towns', The Independent Magazine, The Independent, London, England, 3 November 2007 Brian Willems, 'Bundle Theory: Antony Gormley and Julian Barnes', artUS, Los Angeles, USA, Issue 20, Winter 2007 Author Unknown, 'Antony Gormley: Blind Light', Artcal.net, 1 November 2007 '4th Annual New Prints Review', Art on Paper, New York, USA, Vol. 12, No. 2, November-December 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Märkische Oderzeitung, Berlin, Germany, 23 October 2007 Author Unknown, 'Der Menschliche Körper', Berliner Morgenpost, Berlin, Germany, 18 October 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Lausitzer Rundschau, Berlin, Germany, 6 October 2007 Natalia Marianchyk, 'Top World Artists come to Kyiv', What's on, Kyiv, Ukraine, No. -
Press Release Antony Gormley
Press Release New Exhibition meticulously constructed form in which mass and space create an implicit order. Rather than representing the Antony Gormley: body, or being concerned with appearance, this sculpture will become, like CO-ORDINATE IV, an instrument for SUBJECT projection, empathy and mindfulness. In the adjacent gallery will be EDGE III (2012), a solid 22 MAY 2018–27 AUGUST 2018 iron body that stands on the wall at the height of a bed. Its unusual placement, spinning the orientation of the This summer Kettle’s Yard will present ‘SUBJECT’ by space by 90 degrees, acting as a lever on the space Antony Gormley, the first solo artist exhibition to be prompting a sense of disequilibrium and suggesting that staged in Kettle’s Yard’s new galleries. Gormley’s the stability of the world and therefore our orientation site-specific installation will ambitiously push and test within it is relative. the boundaries of these spaces. The exhibition will include both new work and works not previously In the Clore Learning Studio will hang SLIP I (2007) a exhibited in the UK. work that maps a falling body in space using fine steel bars that follow a system of meridians familiar to us Taking as its basis the ‘coordinate’ as a means of from a geographer’s globe. This accurate mapping of the measurement of space and of the body as space, diving body is held within an expanded space frame ‘SUBJECT’ is conceived as a site-specific installation that derived from that same body. The inner body frame has will occupy the whole site, including both galleries, the fallen inside the outer. -
Antony Gormley: Some of the Facts
Antony Gormley: Some of the Facts Tate St Ives 16 June – 2 September 2001 Notes for Teachers As part of the ongoing development of resources for teachers we would like to encourage you to comment on how useful you have found this information and make any suggestions/additions to be incorporated during the exhibition and shared with other educationalists. E-mail [email protected] Call 01736 791114 Art is the means by which we communicate what it feels like to be alive…. Making beautiful things for everyday use is a wonderful thing to do – making life flow more easily – but art confronts life, allowing it to stop and perhaps change direction – they are completely different. Antony Gormley Things already exist. Sculpture already exists. The job is to transform what exists in the outer world By uniting it with the world of sensation, imagination and faith. Action can be confused with life. Much of human life is hidden. Sculpture, in stillness, can transmit what may not be seen. My work is to make bodies into vessels that both contain and occupy space. Space exists outside the door and inside the head. My work is to make a human space in space. Each work is a place between form and formlessness, a time between origin and becoming. A house is the form of vulnerability, darkness is revealed by light. My work is to make a place, free from knowledge, free from history, free from nationality to be experience freely. In art there is no progress, only art. Art is always for the future. -
Akram Khan Company
WELCOME TO AKRAM KHAN THE ROUNDHOUSE making before opening at the reimagining of the epic COMPANY Roundhouse, we are delighted Mahabharata – and pulls to be working in partnership audiences into Akram’s world, with Sadler’s Wells, as well as giving them a unique experience UNTIL THE LIONS one of the most extraordinary from every viewpoint. and instinctive collaborators I have come across, Akram Khan. I look forward to experiencing Akram has worked with world- this premiere performance once class artists from music, film, again and I very much hope you dance and theatre and watching enjoy it too. Photo: Ellie Pinney him in rehearsals last summer, I was able to witness his open Marcus Davey OBE and inclusive approach to the Chief Executive and In 1966, the Roundhouse creative process first hand. Artistic Director opened its doors for the first time as a cutting-edge arts This production was initiated venue, beginning with the by the 360° Network – a network legendary launch of radical of round artistic venues across underground newspaper, the the world – with Until the Lions International Times. In 2016 we especially created for our iconic started our 50th anniversary year Main Space. This also marks the with the world premiere of Until first time Akram has created a the Lions from one of the dance complete work for a 360-degree world’s most influential and setting. Our round Main Space respected figures, Akram Khan. allows him to explore a particular After a world tour of in-the- section of Karthika Naïr’s book round venues, the show returned Until the Lions: Echoes from to us in January 2019, but it is the Mahabharata – an original the special premiere, lovingly captured by our young film and broadcast team, that we are bringing to online audiences on the 27th August 2020. -
Bulletin Automne 2011 [Pdf]
SAISON 2011>12 SEASON FORTIER DANSE- [Québec] BULLETINAUTOMNE /FALL 2011 – VOL.11 – NO.1 CRÉATION SYLVAIN ÉMARD [Québec] DANSE EASTMAN COMPAGNIE VZW [Belgique/Belgium] MARIE [Québec] WWW.DANSEDANSE.NET CHOUINARD [Inde/India] SHANTALA SHIVALINGAPPA SOMMAIRE / CONTENTS Mot des codirecteurs / Word from the Co-directors 03 Fortier Danse-Création 04-09 English abbreviated version Eastman vzw 10-13 English abbreviated version Sylvain Émard Danse 14-17 English version Shantala Shivalingappa 18-23 English version COMPAGNIE MARIE CHOUINARD 24-27 English version Brèves / News 28-31 Une publication de Danse Danse en collaboration avec Place des Arts. / Published by Danse Danse in collaboration with Place des Arts. Directrice de la publication / Editor Clothilde Cardinal, Danse Danse. Coordonnatrice à l’édition / Coordinator (editorial) Anne Viau. Rédaction / Texts Les compagnies / The Companies, Marie-Élizabeth Roy. Collaboratrices / Contributors Fabienne Cabado, Michèle Febvre. Traduction / Translation Neil Kroetsch. Graphisme / Graphic design Gris Gris design graphique. Tirage / Circulation 10 000 exemplaires / copies. Bibliothèque nationale du Canada. Bibliothèque nationale du Québec : ISSN 1499-531X Bulletin-Danse Danse Photos page 1 : Fortier Danse-Création, interprète / dancer Paul-André Fortier, photo Ginelle Chagnon. Eastman vzw, interprètes / dancers Darryl E. Woods, Helder Seabra, Kazutomi Kozukison, Damien Fournier, James O’Hara, photo Maarten Vandenabeele. Sylvain Émard Danse, interprètes / dancers Laurence Ramsay, Manuel Roque, photo -
VICKEN PARSONS Hertfordshire, Reino Unido, 1957 Vive Y Trabaja En Londres, Reino Unido
VICKEN PARSONS Hertfordshire, Reino Unido, 1957 Vive y trabaja en Londres, Reino Unido Vicken Parsons es una artista británica. Nacida en 1957, realizó sus estudios en la Slade School of Fine Art. Es ampliamente conocida por sus pinturas a pequeña escala que evocan espacios arquitectónicos y paisajes elementales. Dentro de una cuidada confusión de planos, lineas y signos, las pinturas de Parsons introducen en la mirada del espectador un continuo movimiento entre la ilusión de la profundidad espacial y el plano pictórico. Vicken Parsons ha expuesto en solitario en Tate St Ives, Kettle’s Yard (Cambridge), Christine König Galerie (Viena), Alan Cristea Gallery (Londres), New Art Centre (Salisbury) y Kristof De Clercq Gallery (Gante). Ha formado parte de exposiciones conjuntas en Whitechapel Gallery (Londres), Tate Modern (Londres), Tate Britain (Londres), Royal Academy of Arts (Londres), Institute of Contemporary Art (Londres), Southampton City Art Gallery, Kunsthalle Mannheim, Turner Contemporary (Margate), the Foundling Museum (Londres) y the Belvedere (Viena). El trabajo de Vicken Parsons forma parte de numerosas colecciones públicas de gran prestigio entre las que se incluyen Tate (Londres), the Belvedere (Viena), Arts Council Collection, Jerwood Foundation y National Galleries Scotland, y ha sido adquirido recientemente por el Government Art Collection. Asimismo sus trabajos están incluidos en la colección del museo Voorlinden (anteriormente, la Caldic Collection). Vicken Parsons vive y trabaja en Londres. EDUCACIÓN 1975 Slade School -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New -
PRESS 2019 Rachel Campbell-Johnston
PRESS 2019 Rachel Campbell-Johnston, 'Gormley's Engaging body of work has all the fun of the fair,' The Times, 17th October 2019 Prospero, 'Sir Antony Gormley's art explores an interior realm', The Economist, London, U.K., 21st September 2019 Farah Nayeri, 'An Indoor Sea and Miles of Metalwork: Antony Gormley's Crowning Moment', New York Times, New York, U.S.A., 18th September 2019 Matthew Collings, 'Spectacular retrospective is a show of accessible meaning', The Evening Standard, London, U.K., 17th September 2019 Simon Schama, 'Antony Gormley: "What you see is what you get"', Financial Times, London, U.K., 13th September 2019 Anthea Gerrie, 'Castaways', Blueprint, London, U.K., August 2019 Rachel Spence, 'Antony Gormley's haunting sculptures on the Greek island of Delos', Financial Times, London, U.K., 14th June 2019 Harry Seymour, 'Exhibition of Gormley's figures repopulates a Greek island's ancient ruins,' The Art Newspaper, London, U.K., 7th May 2019 Silvia Anna Barrila, Antony Gormley: Brexit? "A temporary and painful pathological form of self-injury", Il Sole Ore, Milan, Italy, 21st February 2019 2018 Debra Craine, 'Review: Icon/Noetic at Sadler's Wells', The Times, London, U.K., 4th December 2018 Emma Byrne, 'Sidi Larbi Cherkaoui and Antony Gormley review: Icon is remarkable madness in three and a half tonnes of clay', Evening Standard, London, U.K., 3rd December 2018 Lyndsey Winship, 'Icon review - Antony Gormley's amazing feat of dancing, churning clay', The Guardian, London, U.K., 2nd December 2018 2017 Aimee Dawson, 'East Anglian