Henry Moore Grants Awarded 2016-17
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
National Collecting Scheme Scotland National
National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008. -
Download Booklet
161Booklet 12/3/09 09:38 Page 1 ALSO AVAILABLE on signumclassics Peter Warlock: Some Little Joy I Love All Beauteous Things: Choral and Organ Music SIGDVD002 by Herbert Howells The Choir of Christ Church Cathedral, Dublin A film drama about a man who, by his SIGCD151 death at thirty six, had composed some of the most perfect gems of English Herbert Howells has an assured place in the annals of English songwriting and elevated hedonism to an church music, however his popular reputation is founded largely on art form. the frequent performance of a small body of core works. This recording redresses the balance in exploring some much less well- known pieces, with impassioned performances from the Choir of Christ Church Cathedral, Dublin. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 161Booklet 12/3/09 09:38 Page 3 THE frostbound wood 16. When the Dew is Falling Herbert Howells [3.36] 17. Full Moon Herbert Howells [2.59] 1. My Little Sweet Darling Peter Warlock [1.59] Noble Numbers Betty Roe 18. To His Saviour, a Child; a Present, by a Child [1.35] 2. Take, O Take Those Lips Away Peter Warlock [1.35] 19. To God; An anthem sung before the King in 3. And Wilt Thou Leave Me Thus? Peter Warlock [1.59] the chapel at Whitehall [2.43] 4. Sleep Peter Warlock [2.10] 20. To God [0.53] 21. To His Angrie God [1.41] 5. The Droll Lover Peter Warlock [0.57] 22. -
Fixed Fire Fighting and Emergency Ventilation Systems for Highway Tunnels – Literature Survey and Synthesis
FIXED FIRE FIGHTING AND EMERGENCY VENTILATION SYSTEMS FOR HIGHWAY TUNNELS – LITERATURE SURVEY AND SYNTHESIS FHWA-HIF-20-016 FFFS-EVS for Highway Tunnels – Literature Survey and Synthesis January 2020 Technical Report Documentation Page 1. Report No. 2. Government Accession No. 3. Recipient’s Catalog No. FHWA-HIF-20-016 TBA TBA 4. Title and Subtitle 5. Report Date Fixed Fire Fighting and Emergency Ventilation Systems January 2020 Literature Survey and Synthesis 6. Performing Organization Code TBA 7. Principal Investigator(s): 8. Performing Organization Bill Bergeson (FHWA), Matt Bilson (WSP), Bill Connell (WSP), Bobby Report Melvin (WSP), Katie McQuade-Jones (WSP) TBA 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) WSP USA, Inc. TBA One Penn Plaza th 250 West 34 Street 11. Contract or Grant No. New York, NY, 10119 DTFH6114D00048 12. Sponsoring Agency Name and Address 13. Type of Report and Period Federal Highway Administration Covered U.S. Department of Transportation TBA 1200 New Jersey Avenue, SE 14. Sponsoring Agency Code Washington, DC 20590 TBA 15. Supplementary Notes 16. Abstract There is a lot of global experience with fixed fire fighting systems in road tunnels, particularly in Australia and Japan, but also in several recently constructed tunnels in the United States and Europe. The U.S. first implemented FFFS in their tunnels in the 1950s, however, this approach did not become routine, partly due to unsuccessful tests of FFFS in the Offneg Tunnel in Europe. Because FFFS were not routinely applied in all tunnels, the present-day approach can vary between planned facilities and regions, especially in critical design areas such as operational integration with the emergency ventilation system (EVS). -
Michael Landy Born in London, 1963 Lives and Works in London, UK
Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian -
WEST Sidemartin Drive
Approximate boundaries: N-W. Vliet St; S-W. Martin Dr-W. Highland Blvd; E-N. 35th St; W-Wisconsin Hwy 175 WEST SIDEMartin Drive NEIGHBORHOOD DESCRIPTION Comprising little more than a square half mile in size, Martin Drive is tucked away between the Olmstead-designed Washington Park to the north and Historic Miller Valley to the south. It’s chiefly one-way streets are tree-lined, and many of the homes are duplexes. Both Highland Boulevard and Martin Drive are winding streets. Due to its small size, the neighborhood has only one commercial corridor and this is on Vliet Street. HISTORY Much of the small Martin Drive neighborhood was developed in the 1920s. Unlike the elite areas on nearby Highland Boulevard, this became a working class neighborhood. Workers living in Martin Drive had several large employers nearby, including Harley Davidson, Miller Brewery, and the Transport Company. Other industrial employers were just a few blocks away in the Menomonee Valley. Bordered by the sprawling Washington Park to the north, residents had quick access to picnic areas, programs, and the county’s zoo. Many could stop to observe all the outdoor animals on their way to work or school. Much changed during the era of freeway building, when I-41 cut into Washington Park and the zoo was relocated to the far west side of Milwaukee. Many homes were also lost on 47th Street between Vliet Street and Juneau Avenue. The neighborhood became even smaller, but did not lose its cohesiveness. Early populations The early population of Martin Drive was almost totally German. -
Updated List of Organisations Attending DCDC15
Updated list of organisations attending DCDC15 Aberystwyth University Parliamentary Archives Adam Matthew PEEL Interactive AHRC/Roehampton University Penarth Library Alexander Street Press People's History Museum Alfred Gillett Trust (C&J Clark Ltd.) Peterborough Archives Anglesey Museums and Archives Service Pitt Rivers Museum, University of Oxford Archives+ Preservation Matters Ltd Arts Council England Public Catalogue Foundation Auckland Museum Pyjamarama Axiell Queen Mary University of London Barnsley Arts, Museums and Archives Rachel Mulhearn Associates Ltd BBC Rambert Dance Company Belinda Dixon Media Ltd Roehampton University Birmingham City University Royal Air Force Museum Blackpool Council Royal Armouries Blackpool Library Service Royal College of Nursing Bletchley Park Trust Royal College of Physicians Bodleian Libraries Royal College of Physicians and Surgeons of Glasgow Bolton Museum Service Royal College of Surgeons of England Brighton College Archive Royal Commission on the Ancient and Historical Monuments for Scotland British Council Royal Shakespeare Company British Library RSA British Museum Salford Business School Brunel University London Scottish Council on Archives Bruynzeel Storage Systems Ltd Senate House Library Cambridge Archive Editions Shakespeare Birthplace Trust Cambridge University Press Share Academy Cardiff University Shropshire Archives CCS Content Conversion Specialists GmbH Shropshire Archives Cengage Learning SOAS, University of London Central Saint Martins Society of Antiquaries of London Cheshire Archives -
The Democratic Image Online Projects Exhibitions Workshops Commissions Events 2 About Look 07
THE DEMOCRATIC IMAGE ONLINE PROJECTS EXHIBITIONS WORKSHOPS COMMISSIONS EVENTS 2 ABOUT LOOK 07 LOOK 07 WAS CONCEIVED BY REDEYE AND IS A PROGRAMME OF ACTIVITIES CONCERNED WITH THE REVOLUTION IN PHOTOGRAPHY. AS CAMERA OWNERSHIP IS SKYROCKETING WORLDWIDE, LOOK 07 DESCRIBES WHAT PEOPLE ARE SAYING WITH THIS NEW LANGUAGE; WHO’S MAKING THE MOST INTERESTING PICTURES NOW; WHO’S LOOKING AT THEM; HOW THE PUBLIC IS USING PHOTOGRAPHY AS A NEW MEANS OF EXPRESSION AND THE PLACE OF THE PROFESSIONAL PHOTOGRAPHER IN ALL THIS. LOOK 07 IS… A SYMPOSIUM WORKSHOPS The Democratic Image Symposium investigates the Look 07 brings together photographers, artists and revolution in photography with some of the world’s non-professionals for exciting projects that will be top speakers on the subject. exhibited in galleries and online. ONLINE WORK COMMISSIONS Look 07’s online gallery, Flickr gallery and blog New work commissioned from a broad range of keep the conversation going. photographers and artists will make its mark upon the city. It will also lead to an open competition. EXHIBITIONS A large number of new, lens-based exhibitions will EVENTS span Greater Manchester, many tying in with the An engaging mix of gallery talks and special symposium’s theme of The Democratic Image. events celebrate different aspects of photography. WHO’S SUPPORTING LOOK 07? Look 07 gratefully acknowledges the support of the We would also like to thank our media partners, Arts Council of England, the Association of Greater The Associated Press and Metro newspaper, and Manchester Authorities, Manchester City Council, our new media supporter, Manchester Digital the Paul Hamlyn Foundation and Redeye – The Development Agency with funds from the ERDF. -
Craft Generation Booklet CLAIRE BARCLAY
CLAIRE BARCLAY Untitled Element from ‘Shadow Spans’ by Claire Barclay 2010 Shellac, calico, fur felt 22cm x 18cm x height 24cm From the installation work ‘Shadow Spans’ at The Whitechapel Gallery, London. The installation reflected on the nature of liminal spaces on the boundaries of indoors and outdoors, for example, the porch, the entrance, windows and doors, the pavement etc. The sculptural components were in some way exploring aspects of the transitions we experience between private and public space. This hat-like form suggestive of a shift from formal to informal when removed at the point of entering a building. It is also abstracted from its familiar form and so made odd and dysfunctional. 3 CLAIRE BARCLAY Where are you based? Based in Glasgow - work in the Glasgow Sculpture Studios, Glasgow Print Studio, studio at home, work with other fabricators, engineering company, saddlers, fabric printing facilities. What is your definition / the definition you prefer of craft? Craft is present in all disciplines where hand skills evolve over time through the exploration of and fascination with particular tasks, whether practical or absurd, traditional or improvised. How does craft relate to your practice as an artist? I don’t consciously think of myself as craft- ing while I am making, as I do not have a specific goal in mind. The materials and processes I use are determined more often by the context in which I am working. I try to use each project as an opportunity to learn more skills but if the skills needed are beyond my ability, I need to work in collaboration with experts in order to realize the work. -
Jantar Mantar Strike Seeks a Sustainable Earth
STUDENT PAPER OF TIMES SCHOOL OF MEDIA GREATER NOiDA | MONDAY, OCTOBER 14, 2019 | VOL 3 , ISSUE 8 | PAGES 8 THE TIMESOF BENNETT Exploring a slice of Tibet in Delhi Trophy from the hunt Hip-hop: culture over trends The ISAC Walk 1.0 : Glimpses of Geeta Bisht, BU’s front desk executive, on Rapper’s take on today’s the photowalk to Majnu-ka-tilla winning the Super Model Hunt 2019 hip-hop industry | Page 5 | Page 4 | Page 6 BU hosts 1st inter-college sports fest, Expedite 2019 Silent walks to By ASHIMA CHOUDHARY were soul-stirring. As the the yum eateries. Even Zardicate came together was one to remember. took trophies, cash mon- Bennett University con- audience and athletes Mrs. Pratima was thrilled to mellow down the stress The crowd lit up the night ey and hampers home! fight harassment ducted its first-ever came together, the event to see the level of enthu- from the tournaments. with grooving students The stir caused by sports fest from 27th to electrified the atmosphere. siasm shown by students. The first night ended with and radium accessories. the fest was palpable as 29th of September. It Food stalls, to source In her words, “I expect- a bonfire, relaxing every- The DJ night lasted well Yashraj Saxena, former welcomed 400 students everyone’s energy, were ed it to be chaotic, but one, but it was the 28th, into the hours. Everyone head of the committee, from 16 universities from voiced his words, “We’ve the Delhi NCR region, been trying to host this Jaipur, Gwalior and a for the past two years. -
Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)
Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9) The Whitechapel Gallery presents the first major international survey of Turner Prize-winning British artist Gillian Wearing’s photographs and films which explore the public and private lives of ordinary people. Fascinated by how people present themselves in front of the camera in fly- on-the-wall documentaries and reality TV, Gillian Wearing explores ideas of personal identity through often masking her subjects and using theatre’s staging techniques. This major exhibition surveys Wearing’s work from the early photographs Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3) to her latest video Bully (2010) and also includes several new photographs made specially for the Whitechapel Gallery exhibition. Visitors to the exhibition enter a film set-style installation showcasing photographs and films in ‘front and back stage’ areas. Highlights include a striking photograph of the artist posing as her younger self, Self-Portrait at 17 Years Old (2003), Dancing in Peckham (1994), a film which blurs the boundaries between public space and private expression as Wearing dances in the middle of a shopping mall, and the UK premiere of recent film Bully (2010). New photographic works shown for the first time include two portraits of Wearing as artists August Sander and Claude Cahun as part of her ongoing series of iconic photographers, as well as still lives of flowers, looking back to th the rich symbolism of the great age of 17 century Dutch painting. -
The Panama Canal Review and by Day
' ' : I-'.",' . UNIVERSITY OF FLORIDA LIBRARIES Digitized by the Internet Archive in 2010 with funding from University of Florida, George A. Smathers Libraries http://www.archive.org/details/panamacanalrevie133pana urn NG_ Oclobei, 5 196! THE AMERICAS Robert J. Fleming, Jr., Governor-President *~=^ Publications Editors | | &£*& Robert D. Kerr and Julio E. Briceno VV. P. Leber, Lieutenant Governor Official Panama Canal Publication Editorial Assistants Will Arey Published monthly at Balboa Heights, C.Z. Eunice Richard, Tobi Bittel, and Tomas A. Cupas Panama Canal Information Officer Printed at the Printing Plant, Mount Hope, C.Z. On sale at all Panama Canal Service Centers, Retail Stores, and the Tivoli Guest House for 10 days after publication date at 5 cents each. Subscriptions, $1 a year; mall and back copies, 10 cents each. Postal money orders made payable to the Panama Canal Company should be mailed to Box M, Balboa Heights. C.Z. Editorial Offices are located in the Administration Building. Balboa Heights, C.Z. Index Une J^and J\eunlted The Bridge by Night 3 IT IS DOUBTFUL if any bridge in the world surpasses the Mr. Thatcher 3 Thatcher Ferry Bridge as a uniting element between: Two parts of a country, two continents, two peoples, and, soon, the two Free, Permanent Transit 4 parts of the world's greatest highway system. Dream of Years Realized 5 Nothing, perhaps, could better express the historic setting for the October 12 dedication and opening of the huge new bridge Tribute From an Ex-President 6 linking the Americas. The above words, from Elmer B. Stevens, bridge project First-Hand Report, With Sidelights 7 resident engineer, stress the true meaning of this new major world traffic link. -
New Works on Video by Young British Artists to Open at the Museum of Modern Art
The Museum of Modern Art For Immediate Release December 1997 NEW WORKS ON VIDEO BY YOUNG BRITISH ARTISTS TO OPEN AT THE MUSEUM OF MODERN ART New Video from Great Britain December 16,1997-February 1,1998 New Video from Great Britain, a survey of the remarkable new wave of work that has emerged from London and Glasgow in recent years, opens at The Museum of Modern Art on December 16, 1997. The program presents notable work by already established figures, such as Sam Taylor-Wood and Douglas Gordon, as well as emerging artists, some of whom are showing in New York for the first time. The two-hour program will be shown continuously in the Garden Hall Video Gallery on the Museum's third floor through February 1, 1998. The exhibition highlights the continuing penchant for conceptual- and performance-based works among young British video artists. Addressing themes of the body, personal identity, and subjectivity in ways that are provocative and playful, ironic and insightful, these works reveal an easygoing familiarity with popular culture that characterizes much of contemporary British life. "Simply and spontaneously shot (often on little more than a domestic camcorder), these 20 or so pieces have a visual impact, flair and invention that belies their low-tech origins and reverberates long after each tape has played," writes Steven Bode, Director of the Film and Video Umbrella, London, who organized the exhibition in conjunction with Barbara London, Associate Curator, and Sally Berger, Assistant Curator, Department of Film and Video, The Museum of Modern Art. -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 "At first glance the young artists in this show appear to use the video camera to capture ordinary gestures, such as simply putting on clothes.