DOCSLIB.ORG

IMPERIAL WAR MUSEUMS PARTNER with PATTERNITY on ‘THE FLEET of DAZZLE’ PRODUCT RANGE September 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMPERIAL WAR MUSEUMS PARTNER with PATTERNITY on ‘THE FLEET of DAZZLE’ PRODUCT RANGE September 2014 IMPERIAL WAR MUSEUMS PARTNER WITH PATTERNITY ON ‘THE FLEET OF DAZZLE’ PRODUCT RANGE September 2014 Imperial War Museums (IWM) proudly join forces with the world’s leading ‘cult pattern specialists’ PATTERNITY to create The Fleet of Dazzle, a new product range launching during London Design Festival in September 2014 and sailing into IWM shops in October 2014. ©PATTERNITY Internationally renowned for their pioneering vision ‘to explore the positive power of pattern to inspire, engage and educate,’ PATTERNITY has collaborated with IWM, drawing inspiration from its extensive naval archives – to design a unique range of monochrome dazzle products to wear and use, boldly reimagining the iconic dazzle camouflage pattern painted to disguise and protect ships during the First World War. In true PATTERNITY style the collaboration doesn’t stop there. PATTERNITY has also delved beneath the surface – using pattern as a tool to bring the spirit of the collaboration to life through a special film project: ‘Patterns of conflict + unity’ in collaboration with Film maker and Fashion Features Director at Pop, Lily Silverton. The new film and product range will be launched at the IWM + PATTERNITY DAZZLE SHOP at LDF’s Design Junction in September 2014 – housed within a sculptural installation also designed by PATTERNITY. Prepare to be well and truly dazzled! ©IWM For further press information about The Fleet of Dazzle, please email [email protected] or call 020 7613 5867 image © IWM THE FLEET OF DAZZLE By IWM + PATTERNITY PRODUCT COLLECTION High resolution images available on request Dazzle Tote with internal pocket Dazzle Print Dazzle Tee 38x44cm 100% Cotton Limited Edition of 500 Unisex XS,S,M,L 100% Cotton £35 £100 £35 Dazzle Cushion Dazzle Wrap 20x20 inch 100% Cotton 3 Sheets of paper Dazzle T-Towel £40 £5 65x75cm 100% cotton £10 Dazzle Post Dazzle Document Wallet Dazzle Travel Postcard pack set of 10 33x25cm Oyster Card Holder £7 £35 £5 All products are manufactured in the United Kingdom. For further press information about The Fleet of Dazzle, please email [email protected] or call 020 7613 5867 NOTES TO EDITORS Preview ‘THE FLEET OF DAZZLE’ at London Design Junction, part of London Design Festival from 17th September 2014 The full collection will be available from IWM London, IWM North and HMS Belfast along with the website iwmshop.org.uk from Thursday 2 October 2014 Contact Information: For further press information about: THE FLEET OF DAZZLE [email protected] 02076135867 IMPERIAL WAR MUSEUMS (IWM) Charlotte Sluter – [email protected] 0207 416 5420 IWM retail products Hilary Frolich – [email protected] 0208 866 2245 PATTERNITY [email protected] 02076135867 @PATTERNITWEET @I_W_M #FLEETOFDAZZLE #IWMPATTERNITY MORE ABOUT DAZZLE Wilkinson’s dazzling idea Aboard a train one wintry February morning in 1917, in the midst of Germany’s ferocious U-boat campaign, a young Lieutenant with the Royal Navy Volunteer Reserve had a brainwave.That officer was the marine artist Norman Wilkinson. All too aware of the threat to Britain posed by Germany’s submarines, Wilkinson was convinced he could protect vulnerable Allied merchant ships by painting them. He of course knew that it was almost impossible to hide a ship in camouflage, so instead he sought to confuse rather than conceal.Wilkinson developed a radical camouflage scheme that used bold shapes and violent contrasts of colour to break up the distinctive profile of ship. This, Wilkinson believed, would make it harder for a submarine commander to gauge the course and speed of a vessel, so lessening the odds of a successful torpedo hit. Painting the fleet Wilkinson’s Dazzle Section developed hundreds of camouflage schemes, mainly to protect the vessels of Britain’s vulnerable merchant fleet, but also for some warships and troopships. Each scheme had different patterns for the port and starboard sides of the ship. One vessel was the enormous ocean liner, Olympic – sister ship of the Titanic. Olympic was converted into a troop ship during the First World War and was painted in dazzle camouflage. She shows some of the techniques used by dazzle designers. Bold shapes at the bow and stern break up the form of the vessel. Angled lines suggest the distinctive smokestacks could be leaning in another direction. And curves on the hull could be mistaken for the shape of the ‘bow wave’ – created by water at the front of a fast-moving ship. For further press information about The Fleet of Dazzle, please email [email protected] or call 020 7613 5867 MORE ABOUT DAZZLE A colourful impact In 1917 people were astounded by the sight of harbours full of colourfully-painted ships. But some of the visual impact of Wilkinson’s camouflage is lost today in the black and white images we have of the First World War. The striking colours can still be seen on hundreds of model ships and schematic drawings held in IWM’s collections. These were made by the Dazzle Section based at the Royal Academy of Arts, at Burlington House in London. Scale models were painted and used to test dazzle designs. They were placed on a rotating turntable and viewed through a periscope. This allowed Wilkinson’s team to test how their dazzle schemes distorted a ship’s form from different viewpoints. Wilkinson believed that using strong contrasts, with light and dark greys, blues and greens, was most effective. Wilkinson appointed ‘port officers’ at major ports around Britain. They supervised the painting of ships from the finished designs. Many port officers were artists themselves, such as Vorticist artist Edward Wadsworth. The man behind the brush Wilkinson’s art is represented in many national collections including the National Maritime Museum, Imperial War Museums, Royal Academy of Arts and the Royal Society of British Artists. He was passionate about ships and the sea. Born in 1878, he studied at Portsmouth and Southsea School of Art, and found early work selling his drawings to newspapers. He built a career at the Illustrated London News before enlisting with the Navy during the First World War. After the war the Royal Commission on Awards to Inventors awarded Wilkinson £2000 and recognised him as the creator of Dazzle. ©IWM For further press information about The Fleet of Dazzle, please email [email protected] or call 020 7613 5867 PATTERNITY www.patternity.org “Because a shared awareness and understanding of pattern can positively shape our future” Founded in 2009 by ‘cult pattern pioneers’: photographer/art director Anna Murray and surface/ product designer Grace Winteringham, PATTERNITY was born from the belief that a shared engagement and understanding of pattern can have positive and powerful results. PATTERNITY comprises a pattern-focused research/consultancy department, award- winning creative studio and pioneering events and education hub. With an unrivalled position as the go-to authority on pattern, both on and beneath the surface, PATTERNITY uses pattern as a tool to tell engaging and worthwhile stories about the world in which we all live. PATTERNITY has received international recognition for its boundless, specialist approach to pattern exploration and implementation. Collaborating with individuals, brands and institutions, connecting the dots, merging theworlds of art and design, science and technology, history, health and education, it undertakes a diverse array of projects, unified by the universal and omnipresent language of pattern. With a global following of more than a million pattern enthusiasts, PATTERNITY was cited by the Telegraph as one of the world’s ‘Top 10 Most Influential Style Blogs’ and voted 6th in Wallpaper* magazine’s 20 ‘Best Things On The Web’. In addition, it has built up notable industry awards, international press support and a client list including Apple, BBC, the Barbican, Celine, Diageo, Getty, Nike, Selfridges and the V&A. PATTERNITY’S ongoing commitment is to ‘use pattern to better understand life’ and to champion its visionary philosophy of ‘seeing and being’ in the world today. IMPERIAL WAR MUSEUMS (IWM) www.iwm.org.uk IWM tells the story of people who have lived, fought and died in conflicts involving Britain and the Commonwealth since the First World War. Its unique collections, made up of the everyday and the exceptional, reveal stories of people, places, ideas and events. IWM tells vivid personal stories and creating powerful physical experiences across its five museums, reflecting the realities of war as both a destructive and creative force. It challenges people to look at conflict from different perspectives, enriching their understanding of the causes, course and consequences of war and its impact on people’s lives. IWM’s five branches attract more than two million visitors each year. IWM London, the flagship branch, is transforming, with new First World War Galleries and a new atrium with large-object displays opening in summer 2014 to mark the centenary of the First World War (Please note IWM London is currently closed and will reopen on 19 July 2014). IWM’s other branches are IWM North, housed in an iconic award-winning building designed by Daniel Libeskind; IWM Duxford, a world-renowned aviation museum and Britain’s best preserved wartime airfield; Churchill War Rooms, housed in Churchill’s secret headquarters below Whitehall; and the Second World War cruiser HMS Belfast. First World War Centenary (www.1914.org) 2014–2018 marks the centenary of the First World War, a landmark anniversary for Britain and the world. IWM will mark the centenary by leading a vibrant, four-year programme of cultural activities across the country, including the opening of brand new First World War Galleries at IWM London in 2014. For further press information about The Fleet of Dazzle, please email [email protected] or call 020 7613 5867.
Load more

Recommended publications
  • 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]
  • Buses from North Greenwich Bus Station
    Buses from North Greenwich bus station Route finder Day buses including 24-hour services Stratford 108 188 Bus Station Bus route Towards Bus stops Russell Square 108 Lewisham B for British Museum Stratford High Street Stratford D Carpenters Road HOLBORN STRATFORD 129 Greenwich C Holborn Bow River Thames 132 Bexleyheath C Bromley High Street 161 Chislehurst A Aldwych 188 Russell Square C for Covent Garden Bromley-by-Bow and London Transport Museum 422 Bexleyheath B River Thames Coventry Cross Estate The O2 472 Thamesmead A Thames Path North CUTTER LANE Greenwich 486 Bexleyheath B Waterloo Bridge Blackwall Tunnel Pier Emirates East india Dock Road for IMAX Cinema, London Eye Penrose Way Royal Docks and Southbank Centre BLACKWALL TUNNEL Peninsula Waterloo Square Pier Walk E North Mitre Passage Greenwich St George’s Circus D B for Imperial War Museum U River Thames M S I S L T C L A E T B A N I Elephant & Castle F ON N Y 472 I U A W M Y E E Thamesmead LL A Bricklayers Arms W A S Emirates Air Line G H T Town Centre A D N B P Tunnel Y U A P E U R Emirates DM A A S E R W K Avenue K S S Greenwich Tower Bridge Road S T A ID Thamesmead I Y E D Peninsula Crossway Druid Street E THAMESMEAD Bermondsey Thamesmead Millennium Way Boiler House Canada Water Boord Street Thamesmead Millennium Greenwich Peninsula Bentham Road Surrey Quays Shopping Centre John Harris Way Village Odeon Cinema Millennium Primary School Sainsbury’s at Central Way Surrey Quays Blackwall Lane Greenwich Peninsula Greenwich Deptford Evelyn Street 129 Cutty Sark WOOLWICH Woolwich
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Secondary and FE Teacher Resource for Teaching Key Stages 3–5 Sculpture in the RA Collection a Sculpture Student at Work in the RA Schools in 1953
    Secondary and FE Teacher Resource For teaching key stages 3–5 Sculpture in the RA Collection A sculpture student at work in the RA Schools in 1953. © Estate of Russell Westwood Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers ‘...we live in a world where images are in abundance and they’re moving, [...] they’re doing all kinds of things, very speedily. Whereas sculpture needs to be given time, you need to just wait with it and become the moving object that it isn’t, so this action between the still and the moving is incredibly demanding for all. ’ Phyllida Barlow RA The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly elected Royal set up in 1768 and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) are in charge a Diploma signed by the Queen. The of governing the Academy. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs the Academy. at any one time, and spaces for new Members only come up when In 1769, the RA Schools was an existing RA becomes a Senior founded as a school of fine art.
    [Show full text]
  • Patron Events
    Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. autumn / winter 2017 December 19 Royal Collection Tour Help us reawaken Hampton Court Palace the dragons of Kew 6 Chief Executive 11.00 Christmas Drinks Join Royal Collection We are seeking supporters to help us to recreate one of Patron Events The Tower of London Club: Superintendent, Christopher the most stunning original features of the Great Pagoda: The Keys Stevens, in the stores at its flight of 80 dragons. 18.30 Hampton Court Palace as he prepares a number of key Our ambition is to recreate and like Chambers’ original vision for the Join new Chief Executive, pieces for the forthcoming reinstate the dragons in time for the Great Pagoda can be restored John Barnes, for his first Royal Academy of Arts reopening of the Great Pagoda in and maintained. Christmas drinks in the unique exhibition ‘Charles I: King 2018. Expert research has created an surroundings of the newly and Collector’. authentic design and the dragons will We invite you to support the refurbished Tower of London be manufactured using a combination production of one of these dragons Club: The Keys. Only accessible of traditional craftsmanship and the and help us to restore the Great to invited guests the club latest technology. Pagoda, a landmark in the capital boasts an array of Beefeater and one of the greatest examples of The eight dragons on the lowest level Chinese-inspired design anywhere memorabilia, including plaques We hope you enjoyed the last six representing the regiments from of the building will be hand carved by in the world.
    [Show full text]
  • Frank Bowling Cv
    FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery,
    [Show full text]
  • Royal Academy of Arts Announces Election of New Professors for the Ra Schools and an Honorary Fellow
    ROYAL ACADEMY OF ARTS ANNOUNCES ELECTION OF NEW PROFESSORS FOR THE RA SCHOOLS AND AN HONORARY FELLOW At a recent General Assembly meeting, conducted for the first time via video conference, the Royal Academy of Arts elected Fiona Banner RA as Professor of Perspective and Lubaina Himid RA as Professor of Painting for the Royal Academy Schools. Alison Wilding RA’s appointment as Eranda Professor of Drawing has also been extended for two years. This follows the election of author Zadie Smith as Honorary Fellow earlier this year. Fiona Banner aka The Vanity Press RA Elect (b.1966) Professor of Perspective Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based. In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work. She first became known for her wordscapes, often heroically proportioned works that capture in her own words “films, from war blockbusters to porn”. She often works with the nude, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends. Lubaina Himid RA Elect (b.1954) Professor of Painting Born in Zanzibar in 1954, Lubaina Himid is a British painter who has dedicated her four-decades- long career to uncovering marginalised and silenced histories, figures, and cultural expressions. She studied Theatre Design at Wimbledon College of Art and went on to receive an MA in Cultural History from the Royal College of Art.
    [Show full text]
  • Magda Archer
    This document was updated 24 September 2020 for reference only and not for purposes of publication. For more information, please contact [email protected] Magda Archer Born 1964 in London, United Kingdom Currently lives and works in London Education 1986–88 Royal College of Art, London 1983–86 Chelsea School of Art, London 1982–83 Ravensbourne College of Art, London Selected solo exhibitions 2017 Well Listen! Who Cares?, Jealous North, London, UK 2015 #givemeeverythingandnothingbaby, HOME, Manchester, UK #givemeeverythingandnothingbaby, Chapter Arts Centre, Cardiff, UK 2012 Crazy Mad, The Cornerhouse, Manchester, UK Selected group exhibitions 2018 Summer Exhibition, Royal Academy of Arts, London, UK 3018, Saatchi Gallery, London, UK 2017 People never notice anything, Broken Grey Wires, London, UK 50 x 50 II, Saatchi Gallery, London, UK 2016 Hibernate, Hang Up Gallery, London, UK 2015 XXX, Moniker Projects with Jealous, London, UK 2014 Drawing Possibilities, Derbyshire, UK Winter Show, Scream Gallery, London, UK 2013 Summer Exhibition, Royal Academy of Arts, London 2012 On Sincerity, 808 Gallery at Boston University, Boston, USA 2010 London Calling, Idea Generation Gallery, London, UK 2009 The Kiss of a Lifetime, Vane, Newcastle Upon Tyne, UK 2000 Peter Blake: About Collage, Tate, Liverpool, UK Commercial work 2019–Present Magda Archer x The Marc Jacobs, USA 2018–Present Third Drawer Down, image licensing, Australia 2017–2020 Flying Leaps street posters commission, UK 2018 Painted leather jacket for Miley Cyrus, Jenny Packham, UK 2017 Collaboration with designer Jenny Packham across Autumn, Bridal and Spring/Summer Collections, UK 2016 Design commission, Blue Q, Massachusetts, USA 2012 SHIRT campaign licensing, Commes de Garçons, Japan Work as illustrator 1988–1998 Renowned Archer/Quinnell illustration duo with numerous commissions including: ITV, 4AD Records, BBC Music Magazine, Random House, Saatchi Advertising and Hamleys .
    [Show full text]
  • Bus Services from Russell Square
    Bus services from Russell Square Holloway Crouch End Nags Head Hornsey Rise Broadway HOLLOWAY 91 Caledonian Road Buy tickets before Station 168 Pentonville Prison boarding on all routes Û Hampstead Heath in central London. South End Green Caledonian Road & Barnsbury Û All stops affected Belsize Park Caledonian Road Freeling Street are clearly marked Caledonian Road Haverstock Hill Copenhagen Street England's Lane with a yellow panel. Caledonian Road Chalk Farm Carnegie Street Caledonian Road Chalk Farm Road Killick Street Harmood Street Wharfdale Road London Canal Museum Camden Town Kings Cross York Way Camden High Street KING'S CROSS CAMDEN King's Cross Station Û for St. Pancras Station Û TOWN Mornington Crescent Station Euston Road British Library Eversholt Street Aldenham Street Euston Û Upper Woburn Place 59 68 St Pancras Church Tavistock Square W Ç O EET B É TR B U D S 7 E AR D R RN F N BE East Acton O E R P AD Brunel Road D L N EAST A LON W C CO A E T Y D S FOR East Acton ACTON RUSSELL UIL Station G Great Ormond St. L SQUARE EL Å Children’s Hosp. Ä SS RU Du Cane Road B O Hammersmith Hospital Q S U W Russell Imperial E E E Hotel N L Brunei Square L S S Wormwood Scrubs Gallery T T R R The yellow tinted area includes every E E Pavilion Hotel E E T T bus stop up to about one-and-a-half E R Â S miles from Russell Square.
    [Show full text]
  • Annual Report 2019/2020 Contents II President’S Foreword
    Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic.
    [Show full text]
  • The New Museum School 2019-2020
    The New Museum School 2019-2020 Crystal Mah-Wing, Collections Care & Conservation Trainee and colleague at Museum of London What is the New Museum School? The New Museum School addresses Culture&’s core objective to open up the arts and heritage sector through workforce initiatives and public programming. The School builds on our previous Skills for the Future programme, Strengthening Our Common Life, and is one of three new programmes in London Supported by the National Lottery Heritage Fund. We have received further funding from the National Lottery Heritage Fund to partner with Create Jobs to form a consortium of leading national, regional and local arts and heritage organisations to offer 34 traineeships over two years (2018 - 2020) that will address the skills gaps in the sector by focusing on digital and conservation skills. The traineeships will offer work-based training leading to an RQF Level 3 Diploma in Cultural Heritage to 34 trainees over two years with a tax-free bursary of equivalent to the London Living Wage, access to continuous professional development and to our peer-led alumni programme. Registered Charity 801111 Company Registered in England and Wales 2228599 Become a New Museum School host partner? Your organisation can be part of shaping a more diverse and vibrant museum, gallery and heritage sector for future generations. You can support and sign up to be a partner and host a trainee on the New Museum School and play your part in a positive step change for the sector. We know that you might need to advocate to your colleagues about this new initiative and your involvement so we have produced this document to give you a summary of what is involved and the type of outcomes you can expect from the programme.
    [Show full text]
  • Greenwich.Pdf
    On Thursday 3rd we have arranged an excursion in the afternoon to Greenwich Tickets are provided for entry to the Royal Greenwich Observatory (home of the Greenwich meridian) and the Cutty Sark ship (the last tea clipper to survive). The National Maritime Museum and Painted Hall (part of the Old Royal Naval College), the Royal park surrounding the Observatory are free to enter. There are several pubs located by the river where you can refresh yourself before returning to Queen Mary for the conference dinner which starts at 7pm: The Trafalgar Tavern The Cutty Sark The Greenwich Union Painted hall will close at 4pm, other attractions close at 5pm, last entry at 4.30pm A packed lunch will be provided and can be picked up after the morning plenary session. Delegates will be able to leave their bags in a secure room in the physics building after the plenary session, to be picked up before the dinner. http://www.rmg.co.uk https://www.ornc.org/paintedhall 3 ways to get to Greenwich 1) Take the east bound central line from Mile End station one stop to Stratford. Then change to platform 4A or 4B to take the DLR (Dockland Light Railway) to Canary Wharf. (Do NOT take DLR from platforms 16 or 17!). To continue to Greenwich from Canary Wharf take the south bound DLR from platform 1 or 2 in the direction of Lewisham and get off at the Cutty Sark station. 2) Walk south down Regents Canal towards the river Thames, when you reach Limehouse basin turn right to Limehouse station and take the DLR in the direction of Lewisham (via Canary Wharf) and get off at the Cutty Sark station.
    [Show full text]