DOCSLIB.ORG

The Magazine of the Glasgow School of Art Issue 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Magazine of the Glasgow School of Art Issue 1 Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson. Flow is packed with news about the GSA – our successes and those stressed the importance of of our alumni – exciting developments that give a snapshot of life at the GSA. the arts to society and to the international profile We welcome this opportunity to share it with you – please enjoy. of a nation.Other guests included Sir Angus Grossart, Lord Gordon of Strathblane, Connie and Brian Simmers, Andy and Angela MacMillan, David Taylor of the Scottish Football Association and David Page of Page and Park Architects. The GSA in top three for wider access In a report in The Times Higher Education Supplement, the GSA was ranked third in its CONTENTS PAGE Access Elite.This is a UK-wide Welcome 2 league table which ranks Making Waves – Alumni in the wider economy 3 higher education establishments according to their level of News 6 student recruitment from Looking to the Future – Simon Paterson 7 areas of low participation in HE, combined with high retention Home Coming – Ken Currie 8 rates and excellence in teaching Education, Education, Education – Professor Seona Reid 10 and research. Development News 12 OBE for long-standing Alumni News 13 GSA supporter In 2001, Donald Taffner, Alumni Benefits 14 a great supporter of Events 16 the GSA and husband to Eleanor, a GSA Governor, was awarded an OBE in Published by: The Glasgow School of Art, 167 Renfrew Street, the USA for his service to Glasgow, United Kingdom G3 6RQ the United Kingdom.The Telephone: +44 (0)141 353 4500 award recognises the major www.gsa.ac.uk contribution the Taffners Edited by: Kate Hollands, Heather Walton, Scott Parsons, Steve Rigley have made to heritage Copywriter: Heather Walton of Carter Rae Communications and culture in the UK. Design: Third Eye Design Print: Beith Printing Printed on: 90gms Inter Offset © The Glasgow School of Art, 2002 An electronic version of this publication is available at: www.gsa.ac.uk If you require a copy in an alternative format please contact the Development & External Relations Office on: 0141 353 4710 or at [email protected] 2 WELCOME ISSUE 1 FlOW 1 ‘Biome’ at the Eden Project. Photo: Simon Burt, Apex Making waves THE GSA ACTS AS A SEEDBED FOR ARTISTS, DESIGNERS AND ARCHITECTS WHO WILL SHAPE THE SCOTLAND, AND THE WORLD, OF TOMORROW.WE TALK TO JUST A FEW OF THEM: The GSA makes a huge contribution to the cultural, social and economic life of Scotland and its national and international reputation. The GSA contributes culturally: > By helping to transform Glasgow from a grim post-industrial city to a vibrant cultural capital. > By establishing the reputation of Glasgow, and Scotland in general, as a worldwide centre for the visual arts. The GSA contributes socially: > By making sure that the GSA buildings, collections, Summer Schools, exhibitions and classes are not only available to students and staff – but are also accessible to the public as a whole. > By encouraging students and staff to interact and work with the local community. > By educating generations of people to understand and appreciate arts and culture. The GSA contributes economically: 1 > By helping to fuel the creative industries in Scotland through its graduates and through Name: Andrew Whalley its research and innovation. Degree: Architecture, 1983 > By developing graduates with highly refined Current role: Partner for the Eden Project, creative skills and abilities.GSA graduates don’t Nicholas Grimshaw & Partners only become artists, designers and architects. The Eden Project consists of three futuristic They also become successful businessmen and greenhouses or ‘biomes’, each with its own women, community leaders, civil servants, carefully controlled climate, housing 80,000 teachers and government ministers. plants along with birds, insects and reptiles. If you have such as thing as a typical day, what is it? Do you have a favourite memory of the GSA? I have two types of day.When I’m based in the London Discovering a city with so much energy, making lifetime office it’s a day fragmented with meetings, discussions friends and meeting my wife.Our year was a fairly and design reviews.When I’m out of London it means close-knit group, which made those awkward first steps travelling, either to our offices in New York and Australia in Architecture a less formidable affair.We all seemed or to Cornwall for the Eden Project. to have quite a lot of fun even though we worked long hours. How did studying at the GSA equip you for what you are doing now? What contribution do you think the GSA makes My training gave me the confidence to explore design to Glasgow, the nation and beyond? from first principles, never to make assumptions or rely To use the Eden Project as an example – from a design on preconceived ideas and to stand by my convictions. standpoint, if it had just been a collection of traditional Being taught in such a creative environment instilled glasshouses I doubt if we would have achieved the in me a passion for design, architecture and art. success we’ve had.In our first year there were nearly two million visitors and an extra £150 million pounds Was there anything about the GSA that inspired you? of additional spend and investment was brought into The total environment – challenging and thought- the local region.This had a radical effect on an area provoking tutors, the city itself – particularly the Kibble suffering from serious economic decline.I wouldn’t Palace.In second year, I took the engineer Tony Hunt to credit all that success to the design and architecture the Botanical Gardens.Neither of us knew that 15 years but it played a very large part. > later we would be collaborating on our own ‘glasshouses’ at Eden. MAKING WAVES 3 FlOW ISSUE 1 2 Cathy Jamieson 3 Department of Continuing Education, Summer School 4 Alison Watt: Courtesy of The Ingleby Gallery, Edinburgh 5 Patrick Ryan 6 YAB-YUM, 2002/03 collection “A UNIQUE THING ABOUT THE GSA IS THAT IT PRODUCES ARTISTS READY TO GO OUT INTO THE PROFESSIONAL WORLD.” 2 3 4 5 6 Name: Cathy Jamieson Name: Alison Watt Name: Patrick Ryan Degree: Sculpture, 1979 Degree: Drawing & Painting, 1988 Degree: Textiles, 1986 Current role: Minister for Education and Current role: Artist Current role: Owns Japanese clothing company Young People, Scottish Executive – YAB-YUM with his wife and partner the devolved government for Scotland Mami Yashida If you have such as thing as a typical day, what is it? If you have such as thing as a typical day, what is it? If you have such as thing as a typical day, what is it? In any one week, I will be involved in everything from All my days are pretty much the same.I come into the I wake up at 7am and get my twin daughters Tallulah Cabinet meetings and discussing policies to visiting studio at 9.30am and then I work until lunch, when I take and Mathilda ready for the day.I work on my collection schools or children’s centres.I also have to answer about an hour’s break.After my break I’ll carry on working at home until the babysitter arrives at 11am.I then Parliamentary questions and speak in debates and again until 5pm.I know it sounds really dull, but I have go to the office – the workload can get overpowering hold regular advice surgeries in my constituency. to be regimented about it. and I usually finish around 10pm. How did studying at the GSA equip you for what How did studying at the GSA equip you for what How did studying at the GSA equip you for what you are doing now? you are doing now? you are doing now? My time at art school developed my ability to analyse One of the most important things was to find out how My background gave me an instinct for survival – it was problems and find solutions and see projects through much I didn’t know.I became exposed to other artists such an eye-opener that it grounded me for experiences from beginning to completion.It gave me the ability and other writing and got to glimpse the vastness that, at times, were larger than life or even daunting.
Load more

Recommended publications
  • Calum Colvin's Ossian Project and the Tropes of Scottish Photography
    Murdo Macdonald: Art and the Scottish Highlands: An Ossianic Perspective 89 MEMORY , MYTH AND MELANCHOLY : CALUM COLV I N ’S OSS I AN PROJECT AND THE TROPES OF SCOTT I SH PHOTO G RAPHY Tom Normand There is a remarkable coincidence of purpose between James Macpherson’s Ossian ‘translations’ of 1760 and Calum Colvin’s Ossian project of 2002 1. Although the former was an exercise in poetic transcription, and the latter an essay in photographic invention, both were journeys of discovery and fabrication. The precise degree of Macpherson’s construction of the Ossian myth remains, even today, a moot point, but Colvin has drawn on this ambiguity to create a collection of evocative and fragmented images. These are a contemporary parallel to Macpherson’s fiction; consciously recalling the process of discovery, imitation, adaptation and simulation that has suffused the ‘original’ source. Significantly, this method is entirely compatible with Colvin’s creative manner. Colvin is a photographer who ‘constructs’ and manipulates his images. He will fabricate a three-dimensional set, using a mixture of abandoned furniture, found-objects, toys and other kitsch memorabilia. Having set the scene he will over-paint the theatrical tableaux with a figurative illustration, often ‘borrowed’ or ‘sampled’from a traditional work of art. And, finally, he will photograph this astonishing creation, so generating a visionary ‘picture’. In reflecting on this process it is clear that the object that exists in the actual world is a fictionalised painted environment, but the result is a ‘real’ photographic study. This challenging dialogue between truth and fiction was certainly relevant to Macpherson, and it manifestly exists as a core dynamic in Colvin’s creative practice.
    [Show full text]
  • 'The Neo-Avant-Garde in Modern Scottish Art, And
    ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object.
    [Show full text]
  • Download Publication
    CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts.
    [Show full text]
  • Century British Photography and the Case of Walter Benington by Robert William Crow
    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
    [Show full text]
  • Guide to International Decorative Art Styles Displayed at Kirkland Museum
    1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops.
    [Show full text]
  • Professor Dr. Horst W. Drescher, Lothar Görke, Professor Dr
    2 Scottish Studies Newsletter, No. 40, Autumn 2012 Editors: Professor Dr. Horst W. Drescher, Lothar Görke, Professor Dr. Klaus Peter Müller, Ronald Walker Table of contents Editorial 3 New Scottish Poetry 4 Miriam Schröder, 65 Years of Passion for Literature – 5 The Scottish Universities' International Summer School Hanne Wiesner, My Edinburgh Experience: 6 English Courses at the University of Edinburgh Dominik J. Strauß, The Boy Who Trapped the Sun: 8 Talented Singer / Songwriter from the Outer Hebrides David S. Forsyth, Transforming a Victorian Vision: 9 Recreating the National Museum of Scotland for the Twenty-First Century (part 2) (New) Media on Scotland 11 Education Scotland 20 Scottish Award Winners 23 The Editors, Miriam Schröder, Ilka Schwittlinsky & Hanne Wiesner, 25 New Publications May – October 2012 Book Reviews Amy Blakeway on The Scottish Middle March, 1573 - 1625; 37 Steve Gardham on The Ballad Repertoire of Anna Gordon; 40 Klaus Peter Müller on Social Justice and Social Policy in Scotland 43 Conference Report (Ron Walker on 'Crime Scotland', Göttingen 2012) 54 Conference Announcements 57 Scottish Studies Newsletter 40, November 2012 3 Editorial Dear Subscriber / Reader, The SNP has now got another two years left to convince the Scots that independence would be better for them than what they have at the moment. This will not be easy. Human beings generally prefer to stay where they are and what they are, especially when they are not sure that a radical change will really bring improvements. And not only Ian Rankin thinks that Scots basically abhor change. Sociologists, economists, many people working in the social services, investigating social policy, and the social, economic, and political situation in Scot- land, however, claim that there is an urgent need for radical changes.
    [Show full text]
  • A Tour Through Scotland
    M2 . f • • &¥ be &J L~a- nA-cr_ g hgRiw'd &E&m*= it? $- .8 1#-5 -- ./ ~7~ • M33 ;)() LO A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph C \ By Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007" A Thesis Project Presented to Ryerson University. the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment for the degree of Masters of Arts . In the program of . Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Danielle McAllister PRDPERTYOF RYERSON UNIVERSITY UBRARl ±brSS Author's Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research. ,. - I --I I Danielle McAllister , I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or ~ individuals for the purpose of scholarly research. ii §k 1 I Abstract I i Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the I nineteenth and early twentieth centuries. Photographic publishing firms such as I G.W. Wilson & Co.
    [Show full text]
  • Download Publication
    ARTS n jr. J .r . The Arts Council of Grea t Britain was formed in August 1946 to continue in peacetim e the work begun with Government support by th e Council for the Encouragement of Music and the Arts. The Arts Council operates under a revised Royal Charter granted in 1967 in which its objects are stated as : (a) to develop and improve th e knowledge, understanding an d practice of the arts ; (b)to increase the accessibilit y of the arts to the public throughout Great Britain ; (c) to advise and co-operat e with departments of government, local authoritie s and other bodies . The Arts Council, as a publicl y S3 accountable body, publishes a n ro annual report and accounts t o a n provide Parliament and th e general public with an overview e 3 Front coeari Ttra renovated AUmmbre of the year 's work . Theatre, Bradford . The ar" are rogeaerating Bradford as "the City of Er*00"lnnrenk an.ee"ns ►aurisre and bariaees. The rota of the arts as cololysts for urban rerrerrel 4 discussed In John Davison's or"* a s the Arts Council's urfaen Renaissance ro"WEl9e. Chairmen's iMroduelion 2 Lord flees-Mogg reflects on his seven years at the Arts Counci l Secretary-Genewl's report 4 Luke Rittner highlights the issue s and achievements of 19$1/8 8 Arts review b Departmental reports on policies which promoted the arts during 1487/88 Special reporfs Appraisals How the Arts Council appraises its 26 clients, and why. by Lynda Murdi n Nubian renaissance The role the 28 arts are playing in regenerating the inner cities .
    [Show full text]
  • Portraiture Portraiture Senior Phase | Teacher’S Notes
    SENIOR PHASE PORTRAITURE PORTRAITURE SENIOR PHASE | TEACHER’S NOTES creative thinking at aberdeen art gallery How to use the teacher’s notes Welcome. This pack has been put together by our experienced learning team to help In order to make these notes work for you, we have chosen artworks and activities that are age appropriate. you explore the building and the collection with your pupils. Every artwork tells a Primary is divided in to Lower and Upper and Secondary is story, giving an insight into a particular culture, society or time in history. Exploring divided in to Junior and Senior phase. the collection will encourage curiosity, imagination and problem solving. This resource provides you with suggested activities and background information on selected artworks. There are six themes that will direct you to at least three gallery spaces, but you can of course look at more artworks About Aberdeen Art Gallery Before your visit along the way. The opening of Aberdeen Art Gallery on 7 July 1885 You may want to begin with a picture of Aberdeen Art As these teacher’s notes will be available to download was made possible by financial contributions from local Gallery and ask your learners to set some questions about from our website, some images of the artworks are businessmen including granite and flour merchants, the gallery and what they might see there. copyright protected and cannot be included in the pack. art collectors and civic-minded individuals. The people This will help to de-mystify what an art gallery is, who who paid for this building also donated many of the Visit our website at www.aagm.co.uk to see images of it’s there for and hopefully have them looking forward older paintings that you see on display today.
    [Show full text]
  • 32 Years of Glasgow School of Art Exhibitions 1988 - Present Day
    32 years of Glasgow School of Art Exhibitions 1988 - present day 1988 1. ‘Glasgow Girls: Women at the Art School 1880-1920’, 15 July – 31 Aug 1988, Mackintosh Museum. Curated by Jude Burkhauser. ‘...an exhibition showcasing the work of The Glasgow Girls held in The Mackintosh Museum at The Glasgow School of Art. The exhibition ran from the 15th of July to the 31st of August 1988 and was the precursor for a larger Glasgow Girls exhibition that would be shown two years later [at Kelvingrove Museum]. This particular exhibition was curated by Jude Burkhauser who went on to write a full PhD on The Glasgow Girls.’ GSA Archives catalogue entry GSAA/EPH/10/43. 1989 1. Soviet Season: Academic Tradition, 28 Oct-2 Dec 1989. Newbery Gallery. External curator: Galina Kargopolova. ‘Work from three leading Soviet Art Schools.’ 1990 1. Hannah Frew Paterson Embroidery Retrospective 1963-1990, 12 April – 5 May, Newbery gallery. GSA Archives: catalogue, poster. This show marked her retirement from GSA. 2. ‘V: Five Years of Photography in Fine Art at GSA 1985-1990’, 10-24 March 1990, Mackintosh Museum and Newbery Gallery. GSA Archives: poster and press release. 3. ‘Artwork from IBM’s UK locations’, 4 May – 2 June 1990, Mackintosh Museum. An exhibition curated by Clare Henry (includes Gilbert & George) 4. A series of Glasgow 1990 events. ‘Passing Out’, 24 Aug-15 Sept – an exhibition of UK silversmith & Jewellery depts. GSA Archives: catalogue. 5. ‘View from the inside’, exhibition of art from Scottish Prisons, 6 Oct – 3 Nov, Newbery Gallery 6. ‘Contemporary Visions’, exhibition of architects responding to Mackintosh architecture, 9-31 Aug 1990.
    [Show full text]
  • A C C Jj P T Iiid
    ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art.
    [Show full text]
  • 100 Art Prints, Multiples, Books & Catalogues
    RObERt RausChenBeRg joHn BeLlanY RichArD HaMilTOn PeTeR BLAke BRuCe MclEAn graYsON PeRry JennY SaviLle Joe TILsoN BaRBAra raE aNDy wArHOl SCOTtie wiLsON alaSDAir gRaY ANtonY GormlEY douGLAS GorDOn iAN hamILtOn FinlAY AlAn DavIE crAIgiE AitcHISon QUenTIN blAKe, eTc. 100 Art Prints, Multiples, Books & Catalogues. William Cowan Bookseller Catalogue Sixty Two *** William Cowan, Bookseller *** Ards Cottage, Telephone: 01631 710 500 Connel, Mobile: 07977259288 Argyll, [email protected] Pa37 1pt, (or) [email protected] Scotland This catalogue is a first in that its focus is on art. It contains various items I have collected over the years that I found at the time, and still find, interesting, attractive, or even important; or, occasionally all of these in one; items that I believe deserve to find a place on someone’s wall, or display cabinet, or bookcase. Personally? A number of prints and ceramics have found a home here; but as this is a cottage and not a castle there is only so much available free space. Hopefully you will find the contents interesting – you may even buy something! Items with a double asterisk ** can be viewed on the PBFA (Provincial Booksellers Fairs Association) website. Simply type in ‘www.pbfa.org/’ which takes you to the site, then click ‘Dealers Directory’ found on the banner menu at the top, then click on ‘Dealer A-Z’, finally, click on ‘C’ and scroll down to find ‘William Cowan’. If an item you are interested in is not there please contact us. Conditions of sale: Payment is due on receipt. New customers will receive a pro-forma invoice.
    [Show full text]