Visual Arts in Wales Celfyddydau Gweledol Cymru
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Wales Visitor Attractions Survey, 2015 , File Type
SOCIAL RESEARCH NUMBER: 48/2016 PUBLICATION DATE: 21/07/2016 Wales Visitor Attractions Survey 2015 Following feedback from the industry, this year it was decided to undertake the Attractions Survey in two parts, the first focusing solely on visitor numbers to attractions. Attractions were identified as having taken part in previous surveys, through Visit Wales’ database or as members of WAVA, and were initially contacted by email with a request to take part in the survey. Although all attractions who could be identified were contacted, the emphasis in terms of recontacting any attractions who had not responded was on attractions who had reported the largest numbers of visitors in previous surveys. Visit Wales would like to thank all attractions who participated in the survey, and would also like to thank Hannah Quincey of WAVA, who co-ordinated responses from WAVA. In all, 154 attractions responded to the survey, of whom 149 were able and willing to supply figures for 2015. The overwhelming majority of attractions also supplied figures for 2014 also, with 146 supplying figures for both years. A number of attractions also supplied some context for the figures. Some figures, particularly for free to enter attractions such as parks, are estimates as the exact numbers are not known. Overall, the figures are generally positive, with 91 of the 146 attractions who supplied figures for both 2014 and 2015 reporting that their visitor numbers remained constant or increased. Attraction 2014 Visits 2015 Visits % Change Notes 1940’s Swansea Bay 9,789 -
National Contemporary Art Gallery Wales: Preliminary Feasibility Study
National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal July 2018 Client: Museums, Archives and Libraries Division (MALD), Welsh Government Event Authors: Lucie Branczik and Becky Schutt Revision no: 02 Date: July 2018 Event Communications Ltd India House 45 Curlew Street London SE1 2ND +44 (0) 20 7378 9900 [email protected] www.eventcomm.com © Event Communications Ltd 2018 The right of Event Communications Ltd to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patent Act 1988. Front cover: Laura Ford, Cardiff Contemporary Festival Source: Laura Ford Contents Executive Summary 7 Appendices 1. Introduction 17 Appendix 1: Consultation List 138 2. Findings and Opportunities 23 Appendix 2: Site Visits 140 Contemporary Art in Wales 25 Appendix 3: Bibliography 142 Supply: Visual and Applied Arts Ecology 30 Appendix 4: List of Figures 144 Demand: Audiences 51 Appendix 5: The Market 147 Key Contexts 61 Appendix 6: Longlist Options 155 Sector Ambition 86 Appendix 7: Vision and Mission Examples 227 3. Purpose and Vision 91 4. The Options 97 5. Recommendations 103 6. Details of the Model 119 7. Recommended Next Steps 131 “In Britain, whenever people come across something new and exciting, but challenging, there is a tendency for them to run for cover, to want what they know and are comfortable with. To design a great new building takes courage on everyone’s part. I think we have a lot more explaining to do.” Zaha Hadid, 1995 Jonathan Glancey, “A monumental spot of local trouble” (The Independent, Jan 1995) 5 Kelly Best, Installation View. -
Shani Rhys-James
SHANI RHYS JAMES Selected Biography Born 1953 Education 1973-76 St Martin's School of Art, B.A. Hons., Degree in Painting 1972-73 Loughborough College of Art, Foundation Course Selected Solo Exhibitions 2018 This Inconstant State, Connaught Brown, London 2017 I Paint Therefore I Am, Martin Tinney Gallery, Cardiff 2015 Macy Art Gallery, Teachers College, Columbia University, New York Caught in the Mirror, Connaught Brown, London Antigone Automated, Millennium Gallery, St Ives Distillation, National Library of Wales, Aberystwyth Cassandra’s Rant, Ceredigion Museum, Aberystwyth 2014 Florilingua, Wales Millennium Centre, Cardiff 2013 The Rivalry of Flowers, Touring Exhibition: King’s Place Gallery, London; Northumbria University Gallery, Newcastle; Aberystwyth Arts Centre, Aberystwyth 2012 Floribunda, Connaught Brown, London 2010 Selected Paintings, Hillsboro Fine Art, Dublin 2009 Two Ateliers, Connaught Brown, London 2008/10 New Paintings, Martin Tinney Gallery, Cardiff 2005 Layers, Martin Tinney Gallery, Cardiff 2003 Black Cot, Touring Exhibition: Aberystwyth Arts Centre, Aberystwyth; Wrexham Arts Centre, Wrexham; Wolverhampton Art Gallery, Wolverhampton; Oriel Ynys Mon, Llangefni Significant Paintings, Museum of Modern Art Wales, Machynlleth 2000 The Inner Room, Stephen Lacey Gallery, London 1998 Oriel 31, Newtown 1997 Facing the Self, Mostyn Art Gallery, Llandudno 1996 Re-Visions, Fettered Past, Midland Art Centre, Birmingham 1995 Martin Tinney Gallery, Cardiff 1994 Touring Exhibition: Glyn Vivian Art Gallery, Swansea; Midlands Art Centre, -
Shani Rhys-James
SHANI RHYS JAMES Selected Biography Born 1953 Education 1973-76 St Martin's School of Art, B.A. Hons., Degree in Painting 1972-73 Loughborough College of Art, Foundation Course Selected Solo Exhibitions 2017 I Paint Therefore I Am, Martin Tinney Gallery, Cardiff 2015 Macy Art Gallery, Teachers College, Columbia University, New York Caught in the Mirror, Connaught Brown, London Antigone Automated, Millennium Gallery, St Ives Distillation, National Library of Wales, Aberystwyth Cassandra’s Rant, Ceredigion Museum, Aberystwyth 2014 Florilingua, Wales Millennium Centre, Cardiff 2013 The Rivalry of Flowers, Touring Exhibition: King’s Place Gallery, London; Northumbria University Gallery, Newcastle; Aberystwyth Arts Centre, Aberystwyth 2012 Floribunda, Connaught Brown, London 2010 Selected Paintings, Hillsboro Fine Art, Dublin 2009 Two Ateliers, Connaught Brown, London 2008/10 New Paintings, Martin Tinney Gallery, Cardiff 2005 Layers, Martin Tinney Gallery, Cardiff 2003 Black Cot, Touring Exhibition: Aberystwyth Arts Centre, Aberystwyth; Wrexham Arts Centre, Wrexham; Wolverhampton Art Gallery, Wolverhampton; Oriel Ynys Mon, Llangefni Significant Paintings, Museum of Modern Art Wales, Machynlleth 2000 The Inner Room, Stephen Lacey Gallery, London 1998 Oriel 31, Newtown 1997 Facing the Self, Mostyn Art Gallery, Llandudno 1996 Re-Visions, Fettered Past, Midland Art Centre, Birmingham 1995 Martin Tinney Gallery, Cardiff 1994 Touring Exhibition: Glyn Vivian Art Gallery, Swansea; Midlands Art Centre, Birmingham; Newport Museum and Art Gallery, Newport -
Annual Review 2008
100+celebrating the centenary planning for the future Our vision is to create a world-class museum of learning. Published in 2008 by Amgueddfa Cymru – National Museum Wales, Cathays Park, Cardiff, CF10 3NP, Wales. © The National Museum of Wales Editor: Robin Gwyn Production: Mari Gordon Design: www.nb-design.com Welsh text: Elin ap Hywel, Catherine Jones Printing: MWL Print All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without the prior permission in writing of The National Museum of Wales, or the copyright owner(s), or as expressly permitted by law. Enquiries concerning reproduction outside the scope of the above should be sent to the Publications Department, National Museum Cardiff, CARDIFF CF10 3NP. The authors’ moral rights have been asserted. This document is available on our website, www.museumwales.ac.uk. This document has been printed on FSC certified paper. It is fully recyclable and biodegradable and produced in an EMAS registered mill that holds ISO 14001 certification. The virgin fibre in this paper is sourced from sustainably managed forests. Amgueddfa Cymru – National Museum Wales 01 100+ celebrating the centenary: planning for the future 02 04 06 28 34 Contents 02-03 Meet the Family 34-41 Looking forward… Cover image: close-up of the birdwing butterfly An introduction to our family A taste of our plans for the future These rare but spectacular of seven museums butterflies live in rainforests around 42-43 Thank you south-east Asia and Australia. -
This Is Wales. 02–03 This Is Wales It’S Our Year of the Sea
2018 visitwales.com This is Wales. 02–03 This is Wales It’s our Year of the Sea The sea is our theme for 2018. In Wales, we’ll be celebrating our shores in many ways, with epic events, attractions and experiences we can all share. It’s a theme that fits Wales like a glove. We’re a nation shaped by the sea. Coastline – 870 miles/1,400km of it – wraps itself around most of the country. Uniquely, you can see it all from the Wales Coast Path, the first of its kind in the world. There’s more. We have 230 beaches (yes, someone has counted them all) and 50 islands. Blue Flags – the ultimate international badge of quality – fly over 50 beaches and marinas, the highest concentration in Britain. This is Wales. 04 Coast Stories 08 Our Inland Shores 10 Cities by the Sea 12 Splash About 14 Country Life 16 Green Ways 18 Past Masters This magazine is also available in Welsh, German, Dutch, 20 Wales in Bloom French, Catalan and Spanish. Visit Wales cannot guarantee 22 In the Food Mood the accuracy or reliability of the information in this 24 Best Fests publication and hereby disclaim any responsibility for any error, omission or misrepresentation. To the fullest extent permitted by law all liability for loss, disappointment, negligence or other damage caused by reliance on the information contained in this guide is excluded. You are Travel Itineraries. advised to check all details and information with the business concerned before confirming a reservation. All rights 26 The Wales Way reserved. -
Shani Rhys-James
SHANI RHYS JAMES Selected Biography Born 1953 Education 1973-76 St Martin's School of Art, B.A. Hons., Degree in Painting 1972-73 Loughborough College of Art, Foundation Course Selected Solo Exhibitions 2018 This Inconstant State, Connaught Brown, London 2017 I Paint Therefore I Am, Martin Tinney Gallery, Cardiff 2015 Macy Art Gallery, Teachers College, Columbia University, New York Caught in the Mirror, Connaught Brown, London Antigone Automated, Millennium Gallery, St Ives Distillation, National Library of Wales, Aberystwyth Cassandra’s Rant, Ceredigion Museum, Aberystwyth 2014 Florilingua, Wales Millennium Centre, Cardiff 2013 The Rivalry of Flowers, Touring Exhibition: King’s Place Gallery, London; Northumbria University Gallery, Newcastle; Aberystwyth Arts Centre, Aberystwyth 2012 Floribunda, Connaught Brown, London 2010 Selected Paintings, Hillsboro Fine Art, Dublin 2009 Two Ateliers, Connaught Brown, London 2008/10 New Paintings, Martin Tinney Gallery, Cardiff 2005 Layers, Martin Tinney Gallery, Cardiff 2003 Black Cot, Touring Exhibition: Aberystwyth Arts Centre, Aberystwyth; Wrexham Arts Centre, Wrexham; Wolverhampton Art Gallery, Wolverhampton; Oriel Ynys Mon, Llangefni Significant Paintings, Museum of Modern Art Wales, Machynlleth 2000 The Inner Room, Stephen Lacey Gallery, London 1998 Oriel 31, Newtown 1997 Facing the Self, Mostyn Art Gallery, Llandudno 1996 Re-Visions, Fettered Past, Midland Art Centre, Birmingham 1995 Martin Tinney Gallery, Cardiff 1994 Touring Exhibition: Glyn Vivian Art Gallery, Swansea; Midlands Art Centre, -
National Museums & Galleries of Wales
The National Museums & Galleries of Wales The National Museums & Galleries of Wales is Wales’s premier heritage institution; it develops, cares for, studies and encourages access to its collections for the benefit of society in perpetuity. With over 500 staff located at seven sites across Wales, NMGW cares for nearly 5 million objects on behalf of the nation. Its permanent and temporary exhibitions, events, and research collections attract every year an average of 700,000 visitors including over 150,000 in educational parties. Another 100,000 people participate in its outreach programmes, and its wide range of partnerships include other ASPBs and museums and universities in Wales and abroad. Its activities are funded by grant from the National Assembly (£14.7M in 2001/2) which it currently supplements by raising additional income of over £1M a year. 1. History of the National Museums & Galleries of Wales • NMGW is one of the youngest national museums and galleries in the UK. Its inception dates from the 1880s when there was a movement in Wales towards the establishment of national institutions, out of which also grew the University of Wales (1893) and the National Library (1907). The location of the new museum and library was decided by a committee of the Privy Council, who chose Cardiff for the former and Aberystwyth for the latter, and ordered that Royal Charters should be obtained, reflecting Parliament’s leading role in the formation of both bodies. • The founding fathers of the Museum wished to create a body representative of all the chief interests in Wales – educational, industrial and political, and the Charter of 1907 based the concept of a Court on that established for the University of Wales. -
Views of the Future
AMGUEDDFEYDD AC ORIELAU CENEDLAETHOL CYMRU Views of the future CONSULTATION PAPER This consultation exercise will play a vital part in redefining NMGW’s approach to the display of the collections of art, which it holds in trust for the nation. AMGUEDDFEYDD AC ORIELAU CENEDLAETHOL CYMRU NATIONAL MUSEUMS & GALLERIES OF WALES VIEWS OF THE FUTURE CONSULTATION PAPER This consultation exercise will play a vital part in redefining NMGW’s approach to the display of the collections of art, which it holds in trust for the nation. Responses should be returned to Michael Tooby, Director, National Museum & Gallery, Cathays Park, Cardiff CF10 3NP or by e-mail to [email protected] VIEWS OF THE FUTURE: NMGW consultation exercise on its approach to the display of the collections of art CONTENTS Foreword 1. Introduction to the consultation exercise 2. Views of the future: Stage 2 consultation 3. How to respond to this consultation Appendices Appendix 1 List of consultees in Stage 1 of the consultation Appendix 2 Key outcomes of Stage 1: a summary of the main themes and issues Appendix 3 Background information on NMGW provided to consultees in Stage 1 3 VIEWS OF THE FUTURE: NMGW consultation exercise on its approach to the display of the collections of art FOREWORD For a number of years there has been considerable (and welcome) public debate about the manner in which NMGW displays its industrial collections and its art collections within the museums that it owns and operates. Part of this debate has centred round the notion that the Museum was largely a resource for those who could afford it.