DOCSLIB.ORG

Es Artista Multidisciplinar, Profesora Y Doctoranda En La Facultad De Bellas Artes De La Universidad Del País Vasco (2016)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Es Artista Multidisciplinar, Profesora Y Doctoranda En La Facultad De Bellas Artes De La Universidad Del País Vasco (2016) Naia del Castillo (Bilbao, 1975) es artista multidisciplinar, profesora y doctoranda en la Facultad de Bellas Artes de la Universidad del País Vasco (2016). Es parte del grupo de investigación LASIA, con el que ha editado el libro titulado Piscina (2018). Es licenciada en Bellas Artes por la UPV/EHU (1998) y master con honores por Chelsea College of Art & Design (2000). De 1998 al 2015 ha residido y trabajado entre Bilbao, Rotterdam, Londres, Barcelona, París, Roma, Nueva York, Hong Kong y Madrid gracias a la ayuda de varios premios y becas de reconocido prestigio, destacando la beca Generación 2000; beca diputación foral de Bizkaia (2003); beca INJUVE para formación y creación (2004); Cité Internationale des Arts (2004); beca de la Real Academia de España en Roma (2007); ISCP, International Studio and Curatorial Program en Nueva York (2009); beca Fundación Arte y Derecho (2011); beca L'Académie de France à Madrid (2015). En el año 2003 obtuvo el primer premio Ertibil, en 2005 ganó el primer el premio a la Mejor Exposición en el Festival OFF PHE05, fue premio XLII Certamen internacional de Artes Plásticas de Pollença y 2º Premio Accésit en la VI Edición del premio ABC de Pintura y Fotografía. En este mismo año representó a España en Parisphoto 05. Premio de Fotografía Maques de Tena (2009); Young Masters Art Prize (2012). Entre el 2008 y el 2018 ha sido colaborada del Museo Guggenheim Bilbao trabajando en el programa “Learning Through art”, Museo de Bellas artes de Bilbao y programa de Master Photoespaña (2017), realizando conjuntamente talleres y una veintena de conferencias sobre su trabajo tanto nacionales e internacionales. Ha realizado numerosas exposiciones individuales y colectivas en Estados Unidos, Latinoamérica, Europa y Asia. Entre ellas sobresalen, Naia del Castillo (Sala Rekalde, Bilbao, 2015); Nuevas Historias. A New View of Spanish Photography and Video Art; (Kulturhuset de Estocolmo, National Museum of Photography de Copenhague, Kuntsi Museum Of Modern Art en Vaasa, Stenersen Museum de Oslo, 2008); Doce Artistas en el Museo del Prado (Museo del Prado, Madrid. 2007); Take me with you (Mori Museum, Japón. 2006); PHE05; Trampas y Seducciones (Sala Alcalá 31, Madrid. 2004); Naia del Castillo (Museo ARTIUM, Vitoria-Gasteiz. 2004); o Fragilities (Festival Printemps de Septembre, Toulouse 2001). La obra de Del Castillo forma parte de las colecciones Museo Nacional del Prado; Museo Nacional Centro de Arte Reina Sofía; CA2M, Museo Artium, Museo de Santander, Maison Européenne de la Photographie Ville de Paris; o Museum of Fine Arts of Houston; entre ótros. https://orcid.org/0000-0002-5386-7164 Naia del Castillo (Bilbo, 1975) disziplina anitzeko artista da, irakasle-doktoregaia, Euskal Herriko Unibertsitateko Arte Ederretako Fakultatean (2016). LASIA ikerketa taldearen parte da, Piscina deituriko liburua haekin editatua du (2018). Arte Ederretan lizentziatua da UPV / EHUk (1998), eta Masterra Chelsea College of Art & Design-en (2000) ohorezko tituluarekin. 1998tik 2015era Bilbon, Rotterdam, Londres, Bartzelona, Paris, Erroma, New York, Hong Kong eta Madril artean bizi eta lan egin du, ospe handiko sari eta beka batzuen laguntzarekin. Nabarmentzen ditugu: Generación 2000 beka saria; Bizkaiako foru aldundiaren beka (2003); INJUVE prestakuntza eta sorkuntza beka (2004); Cité Internationale des Arts (2004); Espainiako Akademia Erromaren saria (2007); ISCP, International Studio and Curatorial Program New Yorken (2009); Fundación Arte y Derecho beka (2011); L'Académie de France Madrilgo beka (2015). 2001ean Gure Artea sarietan nominatua izan zen; 2003an lehen Ertibil saria irabazi zuen; 2005ean PHE05 OFF jaialdiko erakusketarik onenaren lehen saria irabazi zuen; Nazioarteko VII. Pollença lehiaketan sariatua izan zen; ABC Pintura Sariaren bigarren saria VI. eta baita urte horretan ere, irudikatu zuen Espainia Parisphoto 05-n. 2008 eta 2018 bitartean Guggenheim Bilbao Museoarekin lankidetzan aritu da "Arte Ikasbidea " programan, Bilboko Arte Ederren Museoan eta Photoespaña Masterrarekin (2017). Horrez gain haibat arte tailerrak eta bere lanari buruzko hogeina konferenziak burutu ditu, bai nazionalak, zein nazioartekoak. Hainbat bakarka eta talde erakusketa egin ditu Estatu Batuetan, Latinoamerikan, Europan eta Asian. Horien artean, Naia del Castillo (Rekalde aretoa, Bilbao, 2015); Nuevas Historias. A New View of Spanish Photography and Video Art (Stockholmeko Kulturhuset, Kopenhageko Argazkigintza Museo Nazionala, Arte Modernoko Kuntsi Vaasan, Oslo Stenersen Museoan ikusgai, 2008); Hamabi Artistak Prado Museoan (Prado Museoa, Madril, 2007); Take me with you (Mori Museoa, Japonia, 2006); PHE05, Madril (2005); Tranpas y seducciones (Alcalá 31 Sala, Madril, 2004); Naia del Castillo (ARTIUM Museoa, Vitoria- Gasteiz, 2004); o Fragilities (Festival Printemps de Septembre, Toulouse 2001). Del Castillok bilduma ezagunetan du obra; besteak beste, Museo Nacional del Prado; Museo Nacional Reina Sofía; CA2M, Artium Museoa, Santanderreko Museoa, Maison Européenne de la Photographie Ville de Paris; Museum of Fine Arts of Houston. https://orcid.org/0000-0002-5386-7164 Naia del Castillo (Bilbao, 1975) is a multidisciplinary artist, professor and doctoral candidate at the Faculty of Fine Arts of the University of the Basque Country (2016). She is part of the LASIA research group, with which she has edited the book entitled Piscina (2018). She has a degree in Fine Arts from the UPV / EHU (1998) and an honors MA degree from Chelsea College of Art & Design (2000). From 1998 to 2015, she has lived and worked between Bilbao, Rotterdam, London, Barcelona, Paris, Rome, New York, Hong Kong and Madrid thanks to the help of several awards and scholarships of recognized prestige. Highlighting: Generation 2000 scholarship; Provincial Council of Biscay (2003); INJUVE scholarship for training and creation (2004); Cité Internationale des Arts (2004); scholarship of the Royal Academy of Spain in Rome (2007); ISCP, International Studio and Curatorial Program in New York (2009); Art and Law Foundation scholarship (2011); L' Académie de France scholarship to Madrid (2015). In 2003, she won the first Ertibil prize, in 2005 the first prize for the Best Exhibition in the OFF PHE05 Festival, XLII International Pollença Fine Arts Competition and second Prize in the VI Edition of the ABC Painting Award and Photography. In this same year, she represented Spain at Parisphoto 05 and win the Photography Prize Marques de Tena (2009); and nominated for Young Masters Art Prize (2012) London. Between 2008 and 2018, she has been a member of the Guggenheim Museum Bilbao working on the "Learning through Art" program, Bilbao Fine Arts Museum and Master Photoespaña program (2017). At the same time, she jointly carrying out workshops and more than twenty conferences on her work, national and international. She has made numerous solo and group exhibitions in the United States, Latin America, Europe and Asia. Among them stand out, Naia del Castillo (Sala Rekalde, Bilbao, 2015); New histories. A New View of Spanish Photography and Video Art; (Kulturhuset of Stockholm, National Museum of Photography in Copenhagen, Kuntsi Museum of Modern Art in Vaasa, Stenersen Museum in Oslo, 2008); Twelve Artists in the Prado Museum (Museo del Prado, Madrid, 2007); Take me with you (Mori Museum, Japan, 2006); PHE05; Traps and Seductions (Sala Alcalá 31, Madrid, 2004); Naia del Castillo (ARTIUM Museum, Vitoria-Gasteiz, 2004); o Fragilities (Festival Printemps de Septembre, Toulouse 2001). The work of Del Castillo is part of the Museo Nacional del Prado collections; National Museum Reina Sofía Art Center; CA2M, Artium Museum, Santander Museum, Maison Européenne de la Photographie Ville de Paris; o Museum of Fine Arts of Houston; among others. https://orcid.org/0000-0002-5386-7164 .
Load more

Recommended publications
  • 4 11 22 32 34 41 50 59 64 65 66 Land Use. Notes On
    4 LAND USE. NOTES ON SCULPTURAL GESTURES AND PRACTICE MARIA VIRGINIA JAUA EREMUAK 11 FLOORSPACE PEDRO DE LLANO 22 A CONVERSATION BETWEEN ANA LAURA ALÁEZ AND MAITE GARBAYO MAITE GARBAYO 32 AMAIA MOLINET 34 AFTER '68. ART AND ARTISTIC PRACTICES IN THE BASQUE COUNTRY, 1968–2018 MIRIAM ALZURI, BEGOÑA GONZÁLEZ, MIGUEL ZUGAZA 41 TIME AND URGENCY, LAUGHTER AND SPACE, POTATOES AND CHIPS. A CONVERSATION BETWEEN JOSÉ RAMÓN AMONDARAIN AND NADIA BARKATE NADIA BARKATE 50 ALKOLEA BEACH SANDRA CUESTA, LARRAITZ TORRES, AMAIA URRA 59 WHAT WAS, WHAT IS #5 OIER IRURETAGOIENA 64 HARRIAK 65 YEAR'S ACTIVITIES 66 JONE LOIZAGA eremuak #5 editors Iñaki Imaz, Pello Irazu, Maider López, Leire Vergara coordinator Natalia Barbería texts by María Virginia Jaua / Pedro de Llano / Maite Garbayo, Ana Laura Aláez / Miriam Alzuri, Begoña González, Miguel Zugaza / Nadia Barkate, José Ramón Amondarain / Sandra Cuesta, Larraitz Torres, Amaia Urra / Oier Iruretagoiena copy editor Fernando Quincoces images central pages: Amaia Molinet back cover: Jone Loizaga HARRIAK images [1] [2] [3] David Hornback, [4] [5] [6] Dani Mera, [7] [8] [9] Maia Villot de Diego images in year's activities [1] Lydia Lomas, [2] [3] [4] [5] [6] Dani Mera, [7] Leire Vergara, [8] Miriam Petralanda, [9] [10] Damaris Pan, [11] [12] Leo Burge, [13] Alberto Peral graphic design Maite Zabaleta Nerecán English translations Toni Crabb November 2018 www.eremuak.net © of the texts, their authors © of the images, the artists © of the photographs, their authors All rights reserved ISSN: 2444-6319 legal deposit: SS-1149-2015 Open programme for the production of context in contemporary art. Department of Culture and Language Policy of the Basque Government.
    [Show full text]
  • Bilbao's Other Serras
    Paul Williamson Guggenheim Museum Bilbao; Bilbao Fine Arts Museum Since its completion in 1997 the Guggenheim Museum in Bilbao, designed by Frank Gehry, has unceasingly worked its magic. The economic impact of this extraordinary structure was immediate, drawing in so many visitors that, within four years, the $100 million spent by regional and local authori- ties on its construction had been recouped in taxes. This is a consequence of the so-called ‘Guggenheim Effect’, whereby Bilbao’s previously run- down, post-industrial urban landscape has been transformed into an elegant tour of the world’s modern cultural centres. The building itself is a protean architectural wonder, rightly hailed as a sin- Guggenheim Bilbao is ‘a sanctuary oF Free association. It’s a bird, it’s a plane, it’s Superman. It’s a ship, an artichoke, the miracle of the rose’ (The New York Times, 7 September 1997). Built in Bilbao’s Former port district on the south bank oF the Nervión river, the museum engages in constantly shiFting Viewed From the waterside, its seeming jumble oF shapes and mass oF tita- - - lusian sandstone. There is also an indigo-painted patch oF windowed Facade that invokes an almost domestic character that is aFFectionately parodied in Jeff Koons’s thirteen-metre high Puppy (a West Highland terrier made of Exuberantly embodying the ‘spirit of freedom’ (as Muschamp also says), subjective responses are woven into the fabric of the Guggenheim Bilbao because this modern museum is not in any sense an empty box for the 35 display of artworks. The building’s purpose is not to create a neutral void in which paintings and sculptures can be objectively placed.
    [Show full text]
  • Metro Station: Ansio (L2) Bus: Line 3136 Bizkaibus (Bilbao-Cruces-Barakaldo)
    BILBAO 2018 Index of contents 1. INTRODUCING BILBAO 3 2. THE EVENT SITE 4 3. HOTELS 6 4. MOST POPULAR TOUIST SPOTS 9 5. PLACES THAT ARE LESS WELL KNOWN 16 6. FOOD & DRINK 18 7. SAFETY TIPS 21 8. EASIEST WAY TO FLY IN TO THE CITY 22 9. OTHER WAYS TO GET TO BILBAO 23 10. PUBLIC TRANSPORTATION 24 11. LOCAL GAME STORES 27 2 1. Introducing Bilbao Here you are, in Bilbao, the capital city of the Province of Vizcaya (or Bizkaia), the Spanish Autonomous Community of Basque Country (or Euskadi). It is one of the most important cities of this community and of Spain. Located in the north Spanish coast, this city bets for a balance between progress and sustainable development. Bilbao also cares on culture and his modernist buildings and theatres prove of it. Language and communication There are two official languages in Basque Country: Spanish and Basque. People speak both languages and most usual things are written in both of them: banners, indications, menus... Here you can find some essential words in both languages for not being “lost in translation” 3 2. The event site LOCATION Name: Bilbao Exhibition Center (BEC) Address: Ronda de Askue 1 48902 Ansio-Barakaldo Spain Website: http://bilbaoexhibitioncentre.com/en Metro Station: Ansio (L2) Bus: Line 3136 Bizkaibus (Bilbao-Cruces-Barakaldo) HOW TO GET THERE From the Airport: Take the Bus to the Bus Station (named Termibus, it’s the last stop) and there are two options from there. Either taking the metro from “San Mames” station (you’ll need to walk to the Metro station as it’s not directly connected to the Bus Station) or taking another bus, line 3136.
    [Show full text]
  • Nicholas Nixon Zuloaga in Belle Époque Paris, 1889-1914 Hell According to Rodin
    la fundación Fundación MAPFRE magazine#40 | September 2017 www.fundacionmapfre.org SOCIAL AWARDS 2016 Art Nicholas Nixon Zuloaga in Belle Époque Paris, 1889-1914 Hell According to Rodin Health HOW TO PREVENT AND DETECT A STROKE Road Safety DO YOU KNOW THE CAMPAIGN SLOW DOWN? Fundación MAPFRE Guanarteme TRAINING IN BIG DATA AND ANIMATION IN GRAN CANARIA Insurance THE POLICY FOR THE TITANIC VISITA NUESTRAS EXPOSICIONES VISIT OUR EXHIBITIONS Nicholas Nixon NICHOLAS NIXON NICHOLAS NIXON Hyde Park Avenue, Boston, 1982 Lugar Location Sala Fundación MAPFRE Fundación MAPFRE Bárbara Braganza Bárbara Braganza Exhibition Hall Bárbara de Braganza, 13. 28004 Madrid Bárbara de Braganza, 13. 28004 Madrid Fechas Dates Desde el 07/09/2017 From 07/09/2017 al 08/01/2018 to 08/01/2018 Horario de visitas Visiting hours #expo_nixon Lunes de 14:00 a 20:00 h. Monday from 2 pm to 8 pm. http://exposiciones.fundacionmapfre.org/ Martes a sábado de 10:00 a 20:00 h. Tuesday to Saturday from 10 am to 8 pm. nicholasnixon Domingos y festivos de 11:00 a 19:00 h. Sunday/holidays from 11 am to 7 pm. Ignacio Zuloaga ZULOAGA EN EL PARÍS DE LA BELLE ZULOAGA IN BELLE ÉPOQUE PARIS, Celestina, 1906 ÉPOQUE, 1889-1914 1889-1914 Museo Nacional Centro de Arte Lugar Location Reina Sofía, Madrid Foto: Archivo Fotográfico Museo Sala Fundación MAPFRE Recoletos Fundación MAPFRE Recoletos Exhibition Hall Nacional Centro de Arte Reina Paseo de Recoletos 23, 28004 Madrid Paseo de Recoletos 23, 28004 Madrid Sofía Fechas Dates © Ignacio Zuloaga, VEGAP, Desde el 28/09/2017 From 28/09/2017 Madrid, 2017 al 07/01/2018 to 07/01/2018 Horario de visitas Visiting hours Lunes de 14:00 a 20:00 h.
    [Show full text]
  • Beyond Guernica and the Guggenheim
    Beyond Guernica and the Guggenheim Beyond Art and Politics from a Comparative Perspective a Comparative from Art and Politics Beyond Guernica and the Guggenheim This book brings together experts from different fields of study, including sociology, anthropology, art history Art and Politics from a Comparative Perspective and art criticism to share their research and direct experience on the topic of art and politics. How art and politics relate with each other can be studied from numerous perspectives and standpoints. The book is structured according to three main themes: Part 1, on Valuing Art, broadly concerns the question of who, how and what value is given to art, and how this may change over time and circumstance, depending on the social and political situation and motivation of different interest groups. Part 2, on Artistic Political Engagement, reflects on another dimension of art and politics, that of how artists may be intentionally engaged with politics, either via their social and political status and/or through the kind of art they produce and how they frame it in terms of meaning. Part 3, on Exhibitions and Curating, focuses on yet another aspect of the relationship between art and politics: what gets exhibited, why, how, and with what political significance or consequence. A main focus is on the politics of art in the Basque Country, complemented by case studies and reflections from other parts of the world, both in the past and today. This book is unique by gathering a rich variety of different viewpoints and experiences, with artists, curators, art historians, sociologists and anthropologists talking to each other with sometimes quite different epistemological bases and methodological approaches.
    [Show full text]
  • View Travel Planning Guide
    YOUR O.A.T. ADVENTURE TRAVEL PLANNING GUIDE® French Impressions: From the Loire Valley to Lyon & Paris 2021 Small Groups: 8-16 travelers—guaranteed! (average of 13) Overseas Adventure Travel ® The Leader in Personalized Small Group Adventures on the Road Less Traveled 1 Dear Traveler, At last, the world is opening up again for curious travel lovers like you and me. And the O.A.T. French Impressions: From the Loire Valley to Lyon & Paris itinerary you’ve expressed interest in will be a wonderful way to resume the discoveries that bring us so much joy. You might soon be enjoying standout moments like these: I love to see how the people live, work, and play in communities like Angers, a city nestled at the edge of the Loire Valley. When you enjoy a Home-Hosted visit to a local family’s home here, you’ll get an intimate view into what daily life is like in the west of France. You’ll also enjoy a l’apéro, a traditional French social gathering over drinks and regional appetizers, with your hosts. Visiting the village of Oradeur-sur-Glane was a profoundly sobering and saddening experience for me. Four days after the Normandy landings, a German SS company killed all 642 residents of the village and left nothing but devastation in their wake. As I walked the winding lanes of the village with crumbling ruins around me, I felt like I was stuck in time. The atrocities that took place were still on full display so visitors like me can never forget the unthinkable horrors that occured between the Nazis and wartime France.
    [Show full text]
  • Palazuelo and the Basque Art Thoughts on Image
    Palazuelo and the basque art Thoughts on Image Javier Viar This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © Paul Klee, VEGAP, Bilbao, 2008 © Ben Nicholson, VEGAP, Bilbao, 2008 © Jorge Oteiza, VEGAP, Bilbao, 2008 © Jacques Villon, VEGAP, Bilbao, 2008 © Zabalaga-Leku, VEGAP, Bilbao, 2008 Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 3, 5, 8, 12, 14, 17, 20, 22, 26, 31 and 33 © Collection Sylvie Baltazart-Eon, Paris: fig. 32 © Fondation Marguerite et Aimé Maeght, Saint-Paul: figs. 13 and 30 © Fundación Museo Jorge Oteiza Fundazio Museoa / Luis Prieto: fig. 15 © Museo Nacional Centro de Arte Reina Sofía: fig. 7 © Philadelphia Museum of Art / Graydon Word: fig. 4 Photo CNAC/MNAM Dist. RMN / © Philippe Migeat: fig. 25 © The Pier Arts Centre Collection, Orkney: fig. 10 © Zentrum Paul Klee, Bern: fig. 24 Text published in: B’07 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no.
    [Show full text]
  • Bilbao and Painting
    Press release Opening on January 29 BILBAO AND PAINTING Sponsored by There are few more genuine and legitimate reasons for pride than showing the beauty of the place where you are from. For this reason, Iberdrola is truly pleased to be sponsoring this exhibition, Bilbao and Painting, devoted to the art produced during the historical period between the late 19th and early 20th centuries when the capital of Biscay embarked on an unstoppable modernization process. In this show, almost thirty large-scale paintings capture different aspects of the landscape and the society which promoted the innovations in manufacturing and economic changes that ushered in modern life in Bilbao. The roots of our company—today one of the three largest electric companies in the world, present in dozens of countries and a benchmark in the energy transition—lie in that transcendental transition at the turn of the century. Two of the companies that were the seeds of Iberdrola were founded in Bilbao in the early 20th century with capital from Biscay: Hidroeléctrica Ibérica in 1901 and Saltos del Duero in 1918. Just like so many other projects which made the industrialization and progress of that period possible, these initiatives emerged from a collective project that joined engineers’ cutting-edge technical knowledge with the efforts of countless workers and the investors’ financial capacity. In addition to the purely aesthetic values which the public is sure to admire in Bilbao and Painting—including the innovations that connect the painting from the Basque Country with the best European modern art—through the impressive views of its landscape, the toil in the mountain and seaside villages, and the joyfulness of its festivals and ceremonies, the exhibition also conveys underlying values like effort, talent, commitment, tenaciousness, and trust.
    [Show full text]
  • The Presentation of the Chasuble to San Ildefonso: an Exploration of Its Origins
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2018 THE PRESENTATION OF THE CHASUBLE TO SAN ILDEFONSO: AN EXPLORATION OF ITS ORIGINS Nikolyn Garner University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to this document benefits ou.y Recommended Citation Garner, Nikolyn, "THE PRESENTATION OF THE CHASUBLE TO SAN ILDEFONSO: AN EXPLORATION OF ITS ORIGINS" (2018). Graduate Student Theses, Dissertations, & Professional Papers. 11137. https://scholarworks.umt.edu/etd/11137 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE PRESENTATION OF THE CHASUBLE TO SAN ILDEFONSO: AN EXPLORATION OF ITS ORIGINS By NIKOLYN GLORIA GARNER Bachelor of Arts, University of Montana, Missoula, Montana, 2018 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Art History The University of Montana Missoula, MT May 2018 Approved by: Scott Whittenburg, Dean of The Graduate School Graduate School H. Rafael Chacón, Chair School of Art Valerie Hedquist School of Art Jeremy Canwell Montana Museum of Art and Culture Elizabeth Hubble Humanities and Sciences Garner, Nikolyn, M.A., Spring 2018 Art History The Presentation of the Chasuble to San Ildefonso: an Exploration of its Origins Chairperson: H.
    [Show full text]
  • SHARON LOCKHART Education Awards and Grants Solo Exhibitions
    SHARON LOCKHART Born 1964 Norwood, Massachusetts Lives and works in Los Angeles Education 1993 Art Center College of Design (MFA), Pasadena, California 1991 San Francisco Art Institute (BFA), San Francisco Awards and Grants 2018 Summer Residency on Gotland, Baltic Art Center, Visby, Sweden The Nancy Graves Grant for Visual Artists 2015 Herb Alpert Award 2009 Alpert/MacDowell Fellowship California Community Foundation Fellowship Honorable Mention, FIDMarseille Festival, International du Documentaire de Marseille Special Mention for Best Woman Filmmaker, 6th Avant-Garde Film Festival, Athens 2008 LEF Foundation Grant 2007 Radcliffe Institute Fellowship, Harvard University, Cambridge, Massachusetts 2002 Creative Capital Grant 2001 John Simon Guggenheim Memorial Foundation Filmmaking Fellow 2000 Rockefeller Foundation Film/Video/Multimedia Fellow Japan Foundation Grant 1999 DAAD Artist in Residence Fellowship, Berlin Individual Artist Grant, City of Los Angeles Cultural Affairs Department 1996 Asian Cultural Council Grant, Artist in Residence Fellowship, Ibaraki, Japan 1995 Kunstlerhaus Bethanien Artist in Residence Fellowship, Stuttgart, Germany 1994 Art Matters Grant Solo Exhibitions 2019 “James Benning and Sharon Lockhart,” Milwaukee Art Museum, Wisconsin Tribute to Sharon Lockhart, International Film Festival Marseille, France “Sharon Lockhart: Rudzienko,” Contemporary Art Center (CAC), Vilnius, Lithuania “Movements and Variations,” neugerriemschneider, Berlin 2018 “Movements and Variations in Two Parts,” Gladstone Gallery, Brussels [traveled
    [Show full text]
  • The National Gallery Review April 2006
    NG Review 2007 cover pp1-4 proof 4.qxd 21/8/07 15:49 Page 1 the national gallery review gallery the national 2007 april 2006 ‒ march gallery the national THE NATIONAL GALLERY REVIEW april 2006 ‒ march 2007 NG Review 2007 cover pp1-4 proof 4.qxd 15/8/07 18:49 Page 2 © The National Gallery 2007 Photographic credits ISBN 978-1-85709-406-0 All images © The National Gallery, London, unless ISSN 0143 9065 stated below Published by the National Gallery Company on behalf of the Trustees Front cover: Giovanni Paolo Panini, The Lottery in The National Gallery Piazza di Montecitorio (detail), 1743–4. Trafalgar Square London WC2N 5DN Back cover: Visitors at the Velázquez exhibition looking at Philip IV as a Hunter, painted about 1636 Tel: 020 7747 2885 and lent by Museo Nacional del Prado, Madrid. www.nationalgallery.org.uk Photo © The National Gallery, London. [email protected] p. 10 Printed and bound by Westerham Press Ltd. St Ives plc Manet’s drawing Aux Tuileries © Private collection Designed by Tim Harvey p. 14 Simone dei Crocefissi, The Dream of the Virgin © The Society of Antiquaries of London The Le Nain Brothers, A Quarrel © Amgueddfa Cymru – National Museum Wales pp. 15–16 All © Amgueddfa Cymru – National Museum Wales p. 17 Jan van de Cappelle, A Calm © Amgueddfa Cymru – National Museum Wales Hans Burgkmair, Portrait of Jakob Fugger and his Wife © Private collection p. 18 Claude-Oscar Monet, The Japanese Bridge © Private collection Vincent van Gogh, An Old Woman of Arles © The Van Gogh Museum Amsterdam (Vincent Van Gogh Foundation) p.
    [Show full text]
  • Annual-Report-2015.Pdf
    1 Annual Report 2015 Guggenheim Museum Bilbao Introduction 4 Art Program 6 Education and Interpretation 22 Visitors 28 Individual Members 29 Corporate Members 31 Press 34 Store/Bookstore 38 Publications 39 Management Model 40 Impact 41 Code of Ethics 42 Awards & Distinctions 43 VIP Visitors 44 Guggenheim Museum Bilbao Foundation 47 CONTENTS 4 5 developed by the Museum, which also launched this year the internship program and the artist program in New York directed at students and emerging artists from the Basque Country within the alliance with the Solomon R. Guggenheim Foundation. In addition, the number of Individual Members rose to 16,734, and corporate participation grew as well, with 113 Corporate Members now supporting the Museum as an essential pillar of our financing. In the digital realm, the website received a total of 1,797,238 visits (a 41% increase from last year), with 7,161,266 pages viewed (90% more than 2014). Furthermore, the Museum continues to expand its community on social media, with 206,510 followers on Facebook and 172,350 on Twitter, a 15% and 142% increase from last year, respectively. As in previous years, the Museum carried out a survey to gauge the impact of the Museum’s activities on the economy of the Basque Country, which revealed that Museum operations generated a total expenditure of 363.9 million euros in the Basque Country, garnering the Basque treasuries an additional 49.3 million euros in tax revenue, and contributing to maintain 6,893 jobs. The Museum remains one of the top European cultural institutions in terms of self-financing, which reached 67% in 2015.
    [Show full text]