DOCSLIB.ORG

APRIL 2010 to MARCH 2011 (Financial Year)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
APRIL 2010 to MARCH 2011 (Financial Year) APRIL 2010 to MARCH 2011 (financial year) April 2010 333.09.001 Dance Laing Art Gallery (Newcastle upon Tyne, UK) 17/10/2009 - 13/01/2010 Duff House Country Gallery (Banff, UK) 06/02/2010 – 11/04/2010 Scottish National Gallery of Modern Art (Edinburgh, UK) 01/04/2010 – 16/06/2010 ARBUS, Diane 1923-1971 AR00549 Topless Dancer in her Dressing Room, San Francisco, Cal. 1968 1968 Photograph on paper 508 x 406 mm AR00556 Two Men Dancing at a Drag Ball, N.Y.C. 1970 1970 Photograph on paper 508 x 406 mm 333.09.034 Rob van't Hoff. Architect of a new society Kröller-Müller Museum (Otterlo, The Netherlands) 01/04/2010 - 29/08/2010 BOMBERG, David 1890-1957 T00914 Study for `In the Hold' circa 1914 Charcoal on paper 556 x 660 mm Presented by the Friends of the Tate Gallery 1967 333.09.145 Modern Times Kettle's Yard (Cambridge, UK) 16/01/2010 - 14/03/2010 De La Warr Pavilion (Bexhill on Sea, UK) 01/04/2010 - 13/06/2010 VEDOVA, Emilio born 1919 P11272 [no title] 1989 Relief print on paper 1075 x 1424 mm Presented by Garner H. Tullis and Pamela Auchincloss 1990 SERRA, Richard born 1939 P20144 Weight and Measure 1993 Etching on paper 1710 x 795 mm Presented by the artist 1994 WADSWORTH, Edward 1889-1949 T00109 Abstract Composition 1915 Gouache, pen and pencil on paper 419 x 343 mm frame: 690 x 530 x 15 mm Purchased 1956 LARIONOV, Michel 1881-1964 T00175 White Drawing ?1907 Gouache on paper 229 x 340 mm Purchased 1958 DE KOONING, Willem 1904-1997 T01104 Untitled 1966-7 Charcoal on tracing paper 476 x 610 mm Presented by the artist through the American Federation of Arts 1969 MANZONI, Piero 1933-1963 T01874 Line 4.90m, December 1959 1959 Ink on paper with cardboard container 222 x 63 x 63 mm Purchased 1974 GABO, Naum 1890-1977 T02155 Sketch for a Mobile Construction circa 1918 Drawing on board 335 x 262 mm frame: 424 x 322 x 15 mm Presented by the artist 1977 LÉGER, Fernand 1881-1955 T06801 Trees 1923 Pencil on paper 325 x 245 mm Bequeathed by Elly Kahnweiler 1991 to form part of the gift of Gustav and Elly Kahnweiler, accessioned 1994 SCHWITTERS, Kurt 1887-1948 T12395 Koi 1932 Collage 157 x 125 mm Accepted by H.M. Government in lieu of Inheritance Tax and allocated to Tate 2007 333.08.135 Tangled Alphabets: León Ferrari and Mira Schendel Museum of Modern Art (New York, USA) 05/04/2009 - 15/06/2009 Museo Nacional de Arte Reina Sofia (Madrid, Spain) 24/11/2009 - 01/03/2010 Fundação Iberê Camargo (Porto Alegre, Brazil) 01/04/2010 - 30/06/2010 SCHENDEL, Mira 1919-1988 L02797 Disk 1972 Letraset on paper with acrylic disks 270 mm diameter x 50 mm Lent by the American Fund for the Tate Gallery 2007 FERRARI, Léon born 1920 T12909 Tower of Babel 1963 Steel, bronze and copper wire 2000 x 800 x 800 mm Presented by the American Fund for the Tate Gallery 2009 333.07.219 Nature according to de Chirico Palazzo delle Esposizioni (Rome, Italy) 08/04/2010 –15/09/2010 DE CHIRICO, Giorgio 1888-1978 T02309 The Melancholy of Departure 1916 Oil on canvas 518 x 359 mm frame: 682 x 524 x 70 mm Purchased 1978 N05976 The Painter's Family 1926 Oil on canvas 1464 x 1149 mm frame: 1630 x 1320 x 80 mm Purchased 1951 333.09.023 Pioneering Painters: The Glasgow Boys 1880 - 1900 Glasgow Museums and Galleries (Glasgow, UK) 09/04/2010 - 27/09/2010 Royal Academy of Arts (London, UK) 30/10/2010 - 23/01/2011 WALTON, Edward Arthur 1860-1922 T03447 Berwickshire Field-workers 1884 Oil on canvas 914 x 609 mm frame: 1050 x 748 x 65 mm Purchased 1982 333.09.159 Le grand geste! International painting from Pollock to Schumacher – Art Informel and Abstract Expressionism Museum Kunst Palast (Dusseldorf, Germany) 10/04/2010 - 01/08/2010 ROTHKO, Mark 1903-1970 T04147 Untitled circa 1946-7 Oil on canvas 1000 x 700 mm frame: 1032 x 736 x 50 mm Presented by the Mark Rothko Foundation 1986 333.09.208 Turner's Travels Cooper Gallery (Barnsley, UK) 12/04/2010 - 26/06/2010 TURNER, Joseph Mallord William 1775-1851 D18142 Scarborough circa 1825 Watercolour and pencil on paper 157 x 225 mm Accepted by the nation as part of the Turner Bequest 1856 D24588 The Leyen Burg at Gondorf circa 1839 Gouache and watercolour on paper 138 x 188 mm Accepted by the nation as part of the Turner Bequest 1856 D32203 Orange Sunset circa 1840 Gouache on paper 185 x 280 mm Accepted by the nation as part of the Turner Bequest 1856 D35964 Mont-Blanc and Le Chetif looking over Pre-Saint Didier in the Val d'Aosta 1836 Watercolour on paper 255 x 279 mm Accepted by the nation as part of the Turner Bequest 1856 D35971 Mont Blanc and Le Chetif looking over Pre St Didier in the Val d'Aosta 1836 Pencil and watercolour on paper 256 x 280 mm Accepted by the nation as part of the Turner Bequest 1856 333.07.249 From Sickert to Gertler: Modern British Art from Boxted House Brighton Museum and Art Gallery (Brighton, UK) 17/04/2010 - 12/09/2010 Robert Bevan 1865-1925 L02380 Trees in a Landscape Oil on canvas 381 x 457 mm frame: 557 x 640 x 60 mm Lent by Mrs S Barclay 2001 John Skeaping 1901-1980 L02393 Gazelle Alabaster 195 x 331 x 127 mm, 8.6 kg Lent by Mrs S Barclay 2001 Harold Gilman 1876-1919 T13024 Madeleine Knox 1910-11 Oil on canvas 608 x 454 x 16 mm Accepted by HM Government in lieu of Inheritance Tax and allocated to the Tate Gallery 2010 Charles Ginner 1878-1952 T13025 La Vieille Balayeuse, Dieppe 1913 Oil on canvas 630 x 470 mm Accepted by HM Government in lieu of Inheritance Tax and allocated to the Tate Gallery 2010 Harold Gilman 1876-1919 T13227 Nude at a Window Oil on canvas 610 x 508 x 18 mm Accepted by HM Government in lieu of Inheritance Tax and allocated to the Tate Gallery 2010 333.09.244 POP Protest: Art for an Anxious Age Wolverhampton Art Gallery (Wolverhampton, UK) 25/04/2010 – 23/10/2010 SELF, Colin born 1941 T01850 Guard Dog on a Missile Base, No. 1 1965 Pencil, ink, watercolour and crayon on card 556 x 762 mm Purchased 1974 333.08.010 Utopia Matters Deutsche Guggenheim (Berlin, Germany) 22/01/2010 - 11/04/2010 Peggy Guggenheim Collection (Venice, Italy) 30/04/2010 - 25/07/2010 HUNT, William Holman 1827-1910 N02422 Two Subjects for `The Germ' published 1850 Etching on paper 200 x 121 mm Presented by Edmund Houghton 1898 MILLAIS, John Everett 1829-1896 N04277 A Baron Numbering his Vassals 1850 Pencil, pen and ink and watercolour on paper 292 x 406 mm Bequeathed by J.R. Holliday 1927 N04623 Study for `Christ in the House of His Parents' circa 1849 Pencil on paper 190 x 337 mm Bequeathed by H.F. Stephens 1932 BROWN, Ford Madox 1821-1893 N03065 Lear and Cordelia 1849-54 Oil on canvas 711 x 991 mm frame: 995 x 1270 x 80 mm Purchased with assistance from The Art Fund and subscribers 1916 ROSSETTI, Dante Gabriel 1828-1882 N04089 Roman de la Rose 1864 Watercolour on paper 343 x 343 mm Presented by Andrew Bain 1925 333.09.190 Objects of Affection: Pre-Raphaelite Portraits by John Brett Barber Institute of Fine Arts (Birmingham, UK) 30/04/2010 - 04/07/2010 Fine Art Society (London, UK) 20/07/2010 - 07/08/2010 Fitzwilliam Museum (Cambridge, UK) 14/09/2010 - 28/11/2010 BRETT, John 1831-1902 N03393 Lady with a Dove: Madame Loeser 1864 Oil on canvas 610 x 457 mm frame: 785 x 632 x 80 mm Presented by Lady Holroyd in accordance with the wishes of the late Sir Charles Holroyd 1919 May 2010 333.09.230 Extraordinary Measures English Heritage (Belsay Hall, UK) 01/05/2010 – 26/09/2010 MUECK, Ron born 1958 AR00033 Spooning Couple 2005 Mixed media 140 x 650 x 350 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 MUECK, Ron born 1958 AR00034 Wild Man 2005 Mixed media 2850 x 1610 x 1080mm ARTIST ROOMS Tate and National Galleries of Scotland. Acquired jointly through The d'Offay Donation with assistance from the National Heritage Memorial Fund and The Art Fund 2008 333.09.113 Wye Tour Exhibition Chepstow Museum (Monmouthshire, UK) 01/05/2010 - 05/09/2010 TURNER, Joseph Mallord William 1775-1851 D00374 The Chancel and Crossing of Tintern Abbey, Looking towards the East Window 1794 Pencil and watercolour on paper 358 x 255 mm Accepted by the nation as part of the Turner Bequest 1856 TURNER, Joseph Mallord William 1775-1851 D25142 Tintern Abbey, Monmouthshire circa 1828 Watercolour on paper 306 x 487 mm Accepted by the nation as part of the Turner Bequest 1856 RICHARDS, John Inigo 1731-1810 T09345 Ironworks, Fenton, Monmouth Pencil and watercolour on paper 143 x 210 mm Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996 333.09.193 Adam Dant New Art Gallery Walsall (Walsall, UK) 07/05/2010 - 04/07/2010 CRUIKSHANK, George 1792-1878 MOTTRAM, Charles 1807-1876 T02268 Worship of Bacchus published 1864 Intaglio print on paper 648 x 1051 mm Purchased 1978 333.10.003 Uneven Geographies: Art and Globalisation.
Load more

Recommended publications
  • Bibliography19802017v2.Pdf
    A LIST OF PUBLICATIONS ON THE HISTORY OF WARWICKSHIRE, PUBLISHED 1980–2017 An amalgamation of annual bibliographies compiled by R.J. Chamberlaine-Brothers and published in Warwickshire History since 1980, with additions from readers. Please send details of any corrections or omissions to [email protected] The earlier material in this list was compiled from the holdings of the Warwickshire County Record Office (WCRO). Warwickshire Library and Information Service (WLIS) have supplied us with information about additions to their Local Studies material from 2013. We are very grateful to WLIS for their help, especially Ms. L. Essex and her colleagues. Please visit the WLIS local studies web pages for more detailed information about the variety of sources held: www.warwickshire.gov.uk/localstudies A separate page at the end of this list gives the history of the Library collection, parts of which are over 100 years old. Copies of most of these published works are available at WCRO or through the WLIS. The Shakespeare Birthplace Trust also holds a substantial local history library searchable at http://collections.shakespeare.org.uk/. The unpublished typescripts listed below are available at WCRO. A ABBOTT, Dorothea: Librarian in the Land Army. Privately published by the author, 1984. 70pp. Illus. ABBOTT, John: Exploring Stratford-upon-Avon: Historical Strolls Around the Town. Sigma Leisure, 1997. ACKROYD, Michael J.M.: A Guide and History of the Church of Saint Editha, Amington. Privately published by the author, 2007. 91pp. Illus. ADAMS, A.F.: see RYLATT, M., and A.F. Adams: A Harvest of History. The Life and Work of J.B.
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • 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
    [Show full text]
  • Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
    IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2008/09 1 Partenaires d’événements: Nous remercions nos partenaires qui en Partenaires de programmes: associant leur image à la Philharmonie et en soutenant sa programmation, permettent sa diversité et l’accès à un public plus large. pour «Jeunes publics» pour «Backstage» Partenaires média: Partenaires officiels: 2 Sommaire / Inhalt / Content IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 140 Salle de Concerts Grande-Duchesse Jazz & beyond 66 Cycle Philharmonique II 142 Joséphine-Charlotte – Saison 2008/09 Autour du monde 74 Amis de l’Orchestre Philharmonique du Ciné-Concerts 80 Luxembourg 144 Bienvenue / Willkommen / Welcome 4 Pops 84 Chill at the Phil 88 Solistes Européens, Luxembourg 146 European Music Academy, Schengen 150 Soirées de Luxembourg 152 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Orchestre Special «Les Musiciens» – Orchestre de Chambre du Luxembourg 154 Grands orchestres 16 Luxembourg Festival 94 Grands solistes 20 Musiques d’aujourd’hui 96 L’Orchestral 24 On the border
    [Show full text]
  • A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements.
    [Show full text]
  • Picasso, Dalí, and Apollinaire: a Triangulation by Dr
    ©Hank Hine, 2015 Picasso, Dalí, and Apollinaire: A triangulation By Dr. Hank Hine © Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society (ARS), New York 2015 Dalí’s 1952 Portrait of Picasso in the 21st century, 1947, develops an iconography as complex as Dalí’s apparent relation to his subject, the Spanish artist 23 years his senior and his persistent referent as an artist and a Spaniard. This painting was loaned by the Fundació Gala Salvador Dalí and was displayed in the exhibition Picasso/Dalí, Dalí Picasso. As the painting’s title proposes Picasso’s countenance as it will appear in the future, an evolution of Picasso’s features is expected. In order to measure the extent of anticipated alteration in his portrait, we can examine the genesis of those changes in the face he presented to Dalí and to others in the era they shared. We desire to know who were these men who were shaped by similar currents and events and whose artistic responses were remarkably similar. The tide of modernism, the impact of Freud, Catalan language and Spanish identity, the wars and women, mark these artists equally. They each made allegorical responses to war. Yet the commerce between Picasso and Dalí was ardent and asymmetrical. Picasso generously provided Dalí and Gala passage to the United States in 1934. Picasso was already the leading avant-garde artist of his day when Dalí made his first trip out of Spain to meet the famous artist at his studio in 1926. There are stories of dinners in Paris. They shared friends, were photographed by the same photographers, and worked at times in the same idiom.
    [Show full text]
  • NY - LUX Page Musée D’Art Moderne Grand-Duc Jean ESAL 2004-2014 1
    Mudam Luxembourg NY - LUX Page Musée d’Art Moderne Grand-Duc Jean ESAL 2004-2014 1 NY - LUX EDWARD STEICHEN AWARD 2004-2014 14/02/2014 - 09/06/2014 PRESS kIT MUDAM LUXEMBOURG Étienne Boulanger. Shots, 2004–2006. © Photo: ENSA Nancy mudaM Mudam Luxembourg NY - LUX Page Musée d’Art Moderne Grand-Duc Jean ESAL 2004-2014 2 NY - LUX EDWARD STEICHEN AWARD 2004-2014 PRESS RELEASE ADDRESS AND INfORMATION EDWARD STEICHEN AWARD LUXEMBOURG 2005 - SU-MEI TSE 2007 - éTIENNE BOULANGER 2009 - BERTILLE BAk 2011 - MARIA LOBODA 2013 - SOPHIE JUNG EDWARD STEICHEN LUXEMBOURG RESIDENT IN NEW YORk 2011 - CLAUDIA PASSERI 2013 - JEff DESOM CONTEMPORARY ART AWARDS ISCP - INTERNATIONAL STUDIO & CURATORIAL PROGRAM EDWARD STEICHEN - BIOGRAPHY Mudam Luxembourg NY - LUX Page Musée d’Art Moderne Grand-Duc Jean ESAL 2004-2014 3 Press release NY - LUX EDWARD STEICHEN AWARD 2004-2014 Exhibition from 14 February to 9 June 2014 Artists Bertille Bak, Étienne Boulanger, Jeff Desom, Sophie Jung, Maria Loboda, Claudia Passeri, Su-Mei Tse Curator Enrico Lunghi The exhibition NY–LUX. Edward Steichen Award 2004-2014 features the seven laureates of the Edward Steichen Award Luxembourg, revealing in seven monographic presentations about 40 recent artworks representative of the development of their respective career. The Edward Steichen Award Luxembourg was founded in 2004 in memory of the eponymous American photographer and museum curator (born in 1879 in Bivange, Luxembourg) with the aim to stimulate the dialogue between the artistic scenes of Europe and the United States – a dialogue that Steichen himself helped to initiate at the outset of the 20th century. This biennial prize, which is awarded by an international jury to an artist from Luxembourg or the Greater Region, rewards its winner with a six-month residency in New York in the framework of the prestigious International Studio & Curatorial Program (ISCP).
    [Show full text]
  • 'Capability' Brown
    ‘Capability’ Brown & The Landscapes of Middle England Introduction (Room ) Lancelot ‘Capability’ Brown was born in in the Northumbrian hamlet of Kirkharle to a family of yeoman-farmers. The local landowner, Sir William Loraine, granted him his first gardening job at Kirkharle Hall in . Demonstrating his enduring capacity for attracting aristocratic patrons, by the time he was twenty-five Viscount Cobham had promoted him to the position of Head Gardener at Stowe. Brown then secured a number of lucrative commissions in the Midlands: Newnham Paddox, Great Packington, Charlecote Park (Room ) and Warwick Castle in Warwickshire, Croome Court in Worcestershire (Room ), Weston Park in Staffordshire (Room ) and Castle Ashby in Northamptonshire. The English landscape designer Humphry Repton later commented that this rapid success was attributable to a ‘natural quickness of perception and his habitual correctness of observation’. On November Brown married Bridget Wayet. They had a daughter and three sons: Bridget, Lancelot, William and John. And in Brown set himself up as architect and landscape consultant in Hammersmith, west of London, beginning a relentlessly demanding career that would span thirty years and encompass over estates. In , coinciding directly with his newly elevated position of Royal Gardener to George , Brown embarked on several illustrious commissions, including Blenheim Palace, Oxfordshire, and Luton Hoo in Bedfordshire. He then took on as business partner the successful builder-architect Henry Holland the Younger. Two years later, in , Holland married Brown’s daughter Bridget, thus cementing the relationship between the two families. John Keyse Sherwin, after Nathaniel Dance, Lancelot Brown (Prof Tim Mowl) As the fashion for landscapes designed in ‘the Park way’ increased in of under-gardeners.
    [Show full text]
  • Jimmie Durham United States, 1940 Lives and Works in Berlin
    kurimanzutto jimmie durham United States, 1940 lives and works in Berlin education & residencies 2016 Artist Residency at the Centre International de Recherche sur le Verre et les Arts Plastiques, Cassis, France. 2007 Artist Residency at the Atelier Calder, Saché, France. grants & awards 2019 Golden Lion for Lifetime Achievement awarded by the 58th International Art Exhibition of La Biennale di Venezia. 2017 Matronato alla carriera awarded by the Museo d’Arte Contemporanea Donnaregina (MADRE), Italy. Robert Rauschenberg Award 2017 awarded by the Foundation for Contemporary Arts, United States. 2016 Goslar Kaiserring awarded by the Verein zur Förderung moderner Kunst Goslar, Germany. solo exhibitions 2019 Do you say I am lying?(Acha que minto?). Fidelidade Arte, Lisbon; Culturgest, Porto, Portugal. The beneficial catastrophe of art. Fondazione Morra Greco, Naples, Italy. 2018 Jimmie Durham: At the Center of the World. Remai Modern, Saskatoon, Canada. The Middle Earth (with Maria Thereza Alves). Institut d’Art Contemporain, Villeurbanne/Rhône-Alpes, France. Labyrinth. Fondazione Adolfo Pini, Milan. 2017 Jimmie Durham: At the Center of the World. Hammer Museum, Los Angeles; kurimanzutto Walker Art Museum, Minneapolis; Whitney Museum of American Art, New York. Evidence.Mönchehaus Museum Goslar, Germany. Jimmie Durham: God’s Children, God’s Poem. Migros Museum für Gegenwartskunst, Zurich. Glass (with Jone Kvie). Galerie Michel Rein, Paris. 2016 Jimmie Durham. Sound and Silliness. Museo Nazionale delle Arti del XXI Secolo, Rome. 2015 Venice: Objects, Work and Tourism. Museo Querini Stampalia, Venice. Jimmie Durham. Here at the Center. n.b.k., Berlin. Various Items and Complaints. Serpentine Gallery, London. 2014 Traces and Shiny Evidence. Parasol Unit, London.
    [Show full text]
  • Review of the Year April 2005 to March 2006 March 2005 to Year April of the Review He T
    The Rothschild Archive review of the year april 2005 to march 2006 THE ARCHIVE ROTHSCHILD • REVIEW OF THE YEAR 2005 – 2006 The Rothschild Archive review of the year april 2005 to march 2006 The Rothschild Archive Trust Trustees Baron Eric de Rothschild (Chair) Emma Rothschild Lionel de Rothschild Julien Sereys de Rothschild Anthony Chapman Victor Gray Professor David Cannadine Staff Melanie Aspey (Director) Caroline Shaw (Archivist) Elaine Penn (Assistant Archivist, to June 2005) Barbra Ruperto (Assistant Archivist, from January 2006) Annette Shepherd (Secretary) The Rothschild Archive, New Court, St Swithin’s Lane, London ec4p 4du Tel: +44 (0)20 7280 5874 Fax: +44 (0)20 7280 5657 E-mail: [email protected] Website: www.rothschildarchive.org Company No. 3702208 Registered Charity No. 1075340 Front cover The Temple of Rameses II at Abu Simbel, from the autochrome collection of Lionel de Rothschild (1882‒1942). 2007 marks the centenary of the public availability of the autochrome, which was the first commercially viable and successful colour process. Lionel was a keen and talented photographer whose collection of plates, a gift to The Rothschild Archive from his family, is one of the most extensive to survive in the UK. On his return from an Italian honeymoon, Lionel made a speech of thanks for their wedding gift to his parliamentary constituents of Mid Bucks revealing his dedication to his hobby and his eagerness to share its results with others: I must thank you for a very pleasant four weeks’ holiday which I have had in Italy, but I want to tell you that during those four weeks I was not idle, for I managed to take a camera with me, and I took a great many coloured photographs.
    [Show full text]
  • Introduction Programme Organizers
    17/01/2011 LocSec Workshop Home Introduction Programme Organizers Conference Venue Travel and Accommodation Motivation There has been a significant increase in the use of location information for the provision of ubiquitous and mobile services. Given the location, users can have real- time and on-the-place touristic information, can pay as they drive, can be assisted when shopping or be guided when visiting unfamiliar places. Social Intelligent computing also starts to rely on positional data to foster interaction and exchange of information, opinions, and recommendations among mobile people on-the-move. Location is an extremely valuable piece of information for both service providers and users. Service providers collect and store location mainly to be able to offer context- dependent services. However, positional data can help to understand proximity relations as well as to evince high-level contextual information like, e.g., whether users are at work or in vacation, whether they are hanging out with friends or with family members. Coupled with subsidiary information available in the Internet (e.g., local news, current weather conditions) positional information can contribute to the automatic composition of highly detailed logs and behavioural profiles. Users usually accept to share their location information at the condition to be better served or to be helped in coping with the complexity of the digital world and assuming the information is only used in the relevant context. However the use of location information raises many issues that are not easily solved. - Should users allow collection of their location data without direct control and without proper information when and where these data is harvested and used? People's locations are often collected and stored without the permission and even without awareness of data owners.
    [Show full text]
  • Compton Verney Annual Review 2014
    [Type text] Compton Verney Annual Review 2014 1 Item zItem Item dfedadfa From the Chair Compton Verney affects each visitor in a unique way. Every experience is different as the landscape and the art inspires, energises and relaxes, allowing each of us to have our own experience with art – to pause from our everyday lives, and reflect. Compton Verney was created to be an art gallery for everyone. There are no rules here as to what is possible or impossible; accordingly, we have tried to create a place that can speak to everyone, whatever their experience or knowledge of art. I am reminded of this so often when speaking to visitors who have come to Compton Verney. Just as every artist reflects their own personality, their own experience and their own time in history, so each visitor brings their own life to the art and the landscape – and takes away something different. Family groups are particularly interesting: a child can see things in entirely different ways, and trigger childrens’ perspectives ideas among the adults. Speaking to one family this year, I met an eight-year old girl fascinated by the saints in the Northern European collection, whose parents now found themselves discussing biblical stories and iconography. It was certainly not what they had expected their child to be interested in, and brought back memories and ideas from their own lives. It was an interesting, questioning conversation, but also filled with energy and laughter. I am so thrilled that this family took away a new, shared experience, and have rediscovered an appetite to include more art in their lives.
    [Show full text]