The Art of Noise: Conversations with Great Songwriters Online
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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 -
Present Bonham-Carter of Yarnbury, B Fowler, L
WEDNESDAY 7 APRIL 2010 ________________ Present Bonham-Carter of Yarnbury, B Fowler, L (Chairman) Gordon of Strathblane, L Howe of Idlicote, B Inglewood, L King of Bridgwater, L Maxton, L McIntosh of Hudnall, B St John of Bletso, L ________________ Witnesses: Mr John Tate, Director of Policy and Strategy, and Mr Peter Salmon, Director of BBC North, BBC, examined. Q1 Chairman: Good morning. Thank you very much for coming in at short notice. You will notice, of course, that this Select Committee is working up to the very last possible moment before Parliament dissolves. What we really want to do is to look at the BBC Strategy Review. Obviously, we cannot do a full report on it before the Election, but it would be a pity if it slipped through unquestioned, and so we would like to explore with you some of the questions which seem to us to be involved. Just set out for me the process. The process, as I understand it, is that the BBC Executive have put forward proposals at the request of the BBC Trust. When did the BBC Trust ask for those proposals, and why? Mr Tate: The process was initiated in June of last year by the Trust requesting proposals from the Executive and it was agreed between the Chairman and the Director General that we would formulate and propose those proposals, which we have done in the form of the Strategy Review. The Charter is very clear that it is the job of the Trust to approve overall the strategy for the BBC and we are, therefore, to propose that strategy as the Executive. -
Iiusicweek for Everyone in the Business of Music 16 SEPTEMBER
iiusicweek For Everyone in the Business of Music 16 SEPTEMBER 1995 £3.10 Simply Red the new single 'Fairground' Release date 18th September Formats: 2CDs, Cassette CD1 includes live tracks CD2 includes remixes w thusfcwe For Everyone in the Business of Music 16 SEPTEMBER 1995 THIS WEEK Black retumsto EMI as MD 4 Help wi He says his former colleague was the Warners and am now looking At 33, Black joins a growing list of agamsttjme Clive Black has finally been installed only"When candidate Manchester for his oldjob. United were -------theEMI. challenges Besides, ofJF- my put new r youthfu!industry, managingalongside directors MCA's in Nickthe lOBlur ingas managing weeks of spéculation. director of EMI UK, end- ers,champions, but you they don't tried change to change a winning play- Cecillon adds that I mldn't refuse." Phillips,RCA's Hugh 32, Goldsmith,_35,Epic's Rob Stringer, BMG misic _33, iWadsworth the company he left at the beginning of between' " ' us ays. "The ' ' îtry' Works inhis A&R new will job. be an"I aci division président Jeremy Marsh, 35, 12PRS:agm department,last year following most recently10 years inas itshead A&R of teamBlack again. wf ■ork alongside the tv UKandthekeytothfParlophone to be the signais s been WEA A&R Ton; il b managingand Roger directors Lewis, A&R drivenguy - probablyand becaus tl replacesdirector Jeanfor theFran | areporting daily basis. directly Cecillon to stresses him,"usiness he says.- tlu for Aftera manager two years at Intersong he moved Musicon to h I vacated the positioi will be given a free rein, "My mesf raftBlack of acts was to responsible the label in for his bringing last spell a movingWEA, to EMIwhose in 1984.managing di danceat EMI actUK, Markand at MorrisonWEA, he signedand teennew Moira BeUas says she wishes Black i group Optimystic. -
Tate Report 2011–12
Tate Report 11–12 Tate Tate Report 11 – 12 63108_Tate_COVERS-03.09.12.indd 1 06/09/2012 18:21 Gerhard Richter’s 11 Panes [11 Scheiben] 2003 in his exhibition at Tate Modern 63108_Tate_COVERS-03.09.12.indd 2 03/09/2012 23:35 Contents Introduction 02 Collection Developing the collection 10 Caring for the collection 12 Research 14 Acquisition highlights 17 Programme Tate Britain 38 Tate Modern 40 Tate Liverpool 42 Tate St Ives 44 Programme calendar 46 Audiences Engaging audiences 48 Online and media 52 Partnerships across the nation 54 International partnerships 58 Improving Tate People and our environment 60 Funding and trading 62 Building for the future 64 Financial review 66 This report is also available to download inTacita PDF Dean’s and large-print commission versionsfor the Unilever – visit Series, Donations, gifts, legacies and www.tate.org.uk/tatereportFILM, in the Turbine Hall at Tate Modern sponsorships 68 63108_Tate_TEXT-03.09.12.indd 1 04/09/2012 03:19 Introduction Each month, a total of 34,000 people from between values and ideas, artists and around the world use turbinegeneration, movements. Tate opens up that conversation the online learning space created by Tate to as many people as possible. This spirit with the support of Unilever. They represent underpins all of Tate’s activities, from 47 countries and include learners, gallery staff publishing to research. It is the responsibility and teachers, young and old, all questioning, that comes with building and protecting the inquiring and creative. They are part of a nation’s collection and giving as many as community that explores artists’ ideas. -
Grayson Perry
GRAYSON PERRY BIOGRAPHY Born in Chelmsford Lives and works in London EDUCATION Braintree College of Further Education, Art Foundation Course Portsmouth Polytechnic, Fine Art BA AWARDS 2016 RIBA Honorary Fellowship 2015 Chancellor of the University of the Arts, London 2013 Commander of the Order of the British Empire (CBE) 2015 Trustee of the British Museum 2010 Royal Academician, Royal Academy of Arts 2003 Turner Prize SPECIAL PROJECTS 2015 A House for Essex, by FAT Architecture and Grayson Perry, Wrabness, Essex 2014 Grayson Perry: Who are You, Channel 4 Television Series (Bafta Television Specialist Factual award) 2013 Radio 4 Reith Lectures, Grayson Perry: Playing to the Gallery 2012 All in the Best Possible Taste with Grayson Perry, Channel 4 Television Series (Bafta Television Specialist Factual award) SELECTED SOLO EXHIBITIONS 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark 2015 – 2016 My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 – 2015 The Vanity of Small Differences, (UK Art Fund/British Council National Tour) Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds 2012 The Vanity of -
Performing Shakespeare in the Original Pronunciation Final Submission2.Docx
Performing Shakespeare in the Original Pronunciation David Barrett A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Doctor of Philosophy December 2013 1 Contents: Abstract 4 Acknowledgements 6 Chapter 1 Introduction 7 Chapter 2 Original Pronunciation in Context 2.1 Historically Informed Performance 15 2.2 The Shakespearean Voice 90 2.3 Accented Shakespeare 104 Chapter 3 3.1 Shakespearean Original Pronunciation in Performance in the Twentieth and Twenty-First Centuries 123 3.2 Macbeth at the Mermaid Theatre 181 Chapter 4 The Linguistic Context, Phonological Research and Reference 193 Chapter 5 5.1 Transcription Policy 225 5.2 A Comparison of Transcription Styles 276 Chapter 6 Testing the Transcription Policy/ Developing a Method through Workshopping 290 Chapter 7 Conclusion 388 Works Cited 416 2 Textual Note: Unless stated otherwise, all Shakespearean quotes are from: Clark, W.G. and Wright, W.A. (1865) The Works of William Shakespeare (Globe Edition), Cambridge and London: Macmillan. Available at: http://www.opensourceshakespeare.org/views/plays/plays.php (accessed 12.09.210) Macbeth: The complete works of William Shakespeare [electronic resource] Created by Jeremy Hylton; Operated by The Tech., Cambridge, Massachusetts (From Grady Ward’s Moby Shakespeare). Available at: http://shakespeare.mit.edu/macbeth/index.html (accessed 10.08.2011) The Romeo and Juliet Transcription: based on the First Folio (1623) from the Electronic Text Center, University of Virginia Library. Available at: http://web.archive.org/web/20080504221015/http://etext.lib.virginia.e du/toc/modeng/public/ShaRJF.html (accessed 24.06.2010) I share the view of Stephen Orgel, who views the acting text, prepared for performance, as the “authentic text” (2002, 237). -
Brand Name Comedian Russell Brand’S Boundary-Defying Style of Humor Has Gained Him Notoriety, Fortune and Hollywood Success
14 生活時尚 S T Y L E WEDNESDAY, NOVEMBER 12, 2008 • TAIPEI TIMES Brand name Comedian Russell Brand’s boundary-defying style of humor has gained him notoriety, fortune and Hollywood success. But a recent edition of his BBC radio show, in which Brand left obscene messages for one of Britain’s best-loved comic actors, has led to controversy that not even he was prepared for BY Miranda Sawyer THE GUARDIAN, LONDON interviewed Russell Brand ��in he says. “It was: ‘Oh, he’s not there, ludicrous hair. He knows all this. He mid-October����������������������. Afterwards I trotted let’s just leave a message’ and then: makes jokes about it. Plus, he’s been in I home thinking, “That was good fun: ‘Oh, look what we’ve done now.’ Narcotics Anonymous since December entertaining, a bit bizarre, a stimulating There was no malicious intent — it 2002 and so does that tedious 12 Steps way to spend an hour.” A few days was like an evolving, rolling thing. If thing of spending hours analyzing later, the row about Andrew Sachs blew you listen, I say sorry more than I say himself and his actions. up. Within a week, Russell had resigned anything offensive — the message “I have a propensity for self- from Radio 2, as had the station’s is mostly an apology. In fact, it’s the involvement. I can be very vain and I head, Lesley Douglas, Jonathan Ross acknowledgment of how wrong it can be selfish and I’m totally aware of had been suspended, and the BBC was was that is the source of the comedy. -
Celebrating Women Filmmakers
Celebrating Women Filmmakers ‘A glamorous bunch with impeccable taste in movies’ The Times INTRODUCTION & CONTENTS SPECIAL EVENTS 4–5 FEATURES 6–8 FILMMAKER FOCUS: MARGARETHE VON TROTTA 8 The seventh Birds Eye View Film Festival, like live scores by Imogen Heap, Micachu DOCUMENTARIES 9–10 the first, opens on International Women’s Day. and more. 2011 is in fact the 100th anniversary of this DEVELOPING auspicious day, and so we celebrate a century This year has also seen two BEV Labs. She COUNTRIES FOCUS 11 of women filmmakers, from Lois Weber to Lucy Writes offered development to ten emerging MUSIC & FASHION 12 Walker. Women who challenge us, inspire us writers, while Re:Animate brought animators and expand our vision. and writers together to generate commercial SHORTS 12–13 feature ideas, with two now in development FESTIVAL DIARY 14–15 This year we’re delighted to have the London with Warp Films. BLOODY WOMEN: premiere of last year’s special guest and world-leading filmmaker Susanne Bier’s These are difficult times in the cultural FROM GOTHIC TO HORROR 16 unforgettable Golden Globe-winner and Oscar sector. Having enjoyed three years’ support SOUND & SILENTS 17–18 nominee In A Better World. We’re also showing from the UK Film Council, BEV now faces many international debut features and yet unprecedented insecurity. Yet our mission RETROSPECTIVE: another astonishing short film line-up – remains essential and our passion unthwarted. A WOMAN’S GOTTA DO... 19–20 a signal, we hope, of a bright future. We are determined to continue, and we’re TRAINING 21 appealling to all of you who value our work to Our Bloody Women retrospective has a darker support us in whatever way you can. -
November 2-5 2017
LITERARY FESTIVAL NOVEMBER 2-5 2017 An International Festival Celebrating Literature, Ideas and Creativity. CHARLESTONTOCHARLESTON.COM FOR TICKETS VISIT CHARLESTONTOCHARLESTON.COM CALL 843.723.9912 1 WELCOME Welcome to an exciting new trans-Atlantic literary festival hosted by two remarkable sites named Charleston. The partnership between two locations with the same name, separated by a vast oceanic expanse, is no mere coincidence. Through the past several centuries, both Charleston, SC and Charleston, Sussex have been home to extraordinary scholars, authors and artists. A collaborative literary festival is a natural and timely expression of their shared legacies. UK © C Luke Charleston, Established in 1748, the Charleston Library Society is the oldest cultural institution in the South and the country’s second oldest circulating library. Boasting four signers of the Declaration of Independence and hosting recent presentations by internationally acclaimed scholars such as David McCullough, Jon Meacham, and Justice Sandra Day O’Connor, its collections and programs reflect the history of intellectual curiosity in America. The Charleston Farmhouse in Sussex, England was home to the A Hesslenberg Charleston © Festival famed Bloomsbury group - influential, forward-looking artists, writers, and thinkers, including Virginia Woolf, John Maynard Keynes, Vanessa Bell, Duncan Grant and frequent guests Benjamin Britten, E.M. Forster and T.S. Eliot. For almost thirty years, Charleston has offered one of the most well-respected literary festivals in Europe, where innovation and inspiration thrive. This year’s Charleston to Charleston Literary Festival inaugurates a partnership dedicated to literature, ideas, and creativity. With venues as historic as the society itself, the new festival will share Charleston’s famed Southern hospitality while offering vibrant insights from contemporary speakers from around the globe. -
Culture Vultures
Politicians and policy-makers take every opportunity to talk up the arts’ importance to society. The Arts Council and Vultures Culture Department for Culture, Media and Sport insist that the arts are now not only good in themselves, but are valued for their contribution to the economy, urban regeneration and social inclusion. Arts organisations – large and small – are being asked to think about how their work can support government targets for health, employment, crime, education and community cohesion. Is there actually any evidence to support them? Also, does the growing political interest in the arts compromise their freedom and integrity? Culture Vultures brings together a panel of Culture experts who show that many official claims about the Edited by Munira Mirza economic and social benefits of arts are based on exaggeration, resulting in wasteful and ineffective social policies. Even worse, such political intrusion means that Vultures organisations are drowning under a tidal wave of ‘tick boxes Is UK arts policy damaging the arts? and targets’ in an attempt to measure their social impact. £10 ISBN 0-9551909-0-8 Policy Exchange Clutha House 10 Storey’s Gate Policy Exchange London SW1P 3AY Tel: 020 7340 2650 Edited by www.policyexchange.org.uk Munira Mirza px cultural policy.qxd 19/01/2006 15:26 Page 1 About Policy Exchange Policy Exchange is an independent think tank whose mission is to develop and promote new policy ideas which will foster a free society based on strong communities, personal freedom, limited government, national selfconfidence and an enterprise culture. Registered charity no:1096300. Policy Exchange is committed to an evidencebased approach to policy development. -
Banksy As Trickster: the Rhetoric of Street Art, Public Identity, and Celebrity Brands
BANKSY AS TRICKSTER: THE RHETORIC OF STREET ART, PUBLIC IDENTITY, AND CELEBRITY BRANDS ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Communications ______________________________________ by Elizabeth J. Westendorf June 2010 This thesis has been approved by The Honors Tutorial College and the School of Communication Studies _______________________________ Dr. Judith Yaross Lee Professor, Communication Studies Thesis Advisor Honors Tutorial College, Director of Studies Communication Studies _______________________________ Dr. Jeremy Webster Dean, Honors Tutorial College CONTENTS List of Figures ....................................................................................................... v Acknowledgements ...............................................................................................vi Chapter 1. Introduction: Banksy and the Rhetoric of Street Art .............................. 1 Chapter 2. The Trickster in Action: Banksy’s Rhetorical Performances ............... 23 Chapter 3. Brandalism or Branding? Banksy’s Brand and the Trickster Myth ..... 56 Bibliography ......................................................................................................... 83 LIST OF FIGURES 1.1 Close up of Early Man Goes to Market ............................................................. 2 -
Living Our Values Social, Ethical and Environmental Audit 2005 Readers
Living our values Social, ethical and environmental audit 2005 Readers We asked 3,300 that other newspapers friend… part of the readers of the are rife with.” family!” Guardian, Observer “It attempts most “As well as being the best and Guardian fully and fairly to paper on earth… It gives Unlimited why they represent all relevant me a tiny but significant read us. These were a issues in their true sense of belonging.” few of the responses complexity, from “I won't be assaulted politics to art to sport.” by myriad reports Guardian “Different, radical, about 'celebrities'.” “I believe it to be the best challenging, represents and most trustworthy a different take on life Observer newspaper on offer in in general. Broad-based “The quality of writing the UK.” coverage of arts and and a viewpoint which “Wide range of media and offers a differs from other sunday opinions/comment that platform to minority/ papers. Plus, excellent challenges my own alternative voices” monthly mags.” beliefs and perceptions.” “Not afraid to challenge “Informative, “I regard the paper as the establishment.” educational, unbiased, unbiased in its political “An old, valued friend — critical and analytical stance, giving equal humanity with intellect debate, up-to-date credence and coverage and humour.” accurate information.” to all political parties “Only paper which has “Well written, honest allowing me to come to a genuine socially and independent.” my own conclusions as progressive dimension “Reporting that you to which is the best.” to its outlook.” can trust.”