Annual Report and Account 2015-2016
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Horniman Museum to Reopen from Thursday 30 July
For immediate release Issued Wednesday 8 July 2020 Horniman Museum to reopen from Thursday 30 July The Horniman will reopen its doors to the public from Thursday 30 July, for the first time since mid- March. Visitors (including Members) will need to pre-book for a free, timed entry slot, via the website horniman.ac.uk. As well as the popular galleries of natural history, world cultures and musical instruments, the Permian Monsters exhibition will also reopen on 30 July, with ticket prices from £5, and an extended run until 3 January 2021. However, some attractions will remain closed initially, including the Aquarium and Butterfly House, and some interactive exhibits have been removed or covered up. Social distancing and other safety measures will be in place throughout the Museum, including hand sanitisation stations, an enhanced cleaning regime, updated signage and a one-way visitor route. During the Museum’s 134-day closure, the Horniman’s Gardens have remained open, giving local residents much-needed green space for their daily exercise during the Coronavirus lockdown. The Horniman has gradually reopened additional facilities including toilets and Café Kiosks in the Gardens, and the Sunday Market. The main Café will reopen at the same time as the Museum with specific safety measures in place. Nick Merriman, Chief Executive of the Horniman Museum and Gardens, says: ‘We’ve heard from many of our visitors how much they’ve missed the Museum. We are immensely grateful for their support during closure and look forward to welcoming them back. Our priority as we return is to increase the diversity of our visitors, address our colonial history and accelerate work on the climate and ecological emergency.’ Pre-booked tickets will be available on the website from Monday 20 July. -
IWM Digital Resource for Volunteers
IWM Digital Resource for Volunteers An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by: Linda Baker Shintaro Clanton Andrew Gregory Rachel Plante Project advisors: VJ Manzo Jianyu Liang June 23, 2016 This report represents the work of one or more WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. ABSTRACT The Interaction Volunteers at Imperial War Museums London engage with visitors in the exhibits and discuss about certain artifacts. The communication of information among the Interaction Volunteer team, however, has been inefficient as the system relied on paper resources. Our IQP team surveyed volunteers and conducted a focus group to gather input about layout and features for a potential digital resource which the Interaction Volunteers could use in management of artifactual content and digital forms. This information was then used to design a website utilizing a content management system in order to make the communication of information more simple and efficient for the Interaction Volunteer team. ii ACKNOWLEDGEMENTS Our team would like to thank our advisors, Professors V.J. Manzo and Jianyu Liang, for their continued support and guidance in completing this project. We would especially like to thank Mr. Grant Rogers, Informal Learning and Engagement Manager at Imperial War Museums London, for sponsoring and providing insight for our project and for sharing his enthusiasm for the museum. In addition, we would like to extend our gratitude to the Learning and Engagement Department and Digital Design Department at Imperial War Museums London, for providing us the resources we needed to complete our project, and to the Volunteer Program at Imperial War Museums London for their advice and participation in our project. -
Discover London
Discover London Page 1 London Welcome to your free “Discover London” city guide. We have put together a quick and easy guide to some of the best sites in London, a guide to going out and shopping as well as transport information. Don’t miss our local guide to London on page 31. Enjoy your visit to London. Visitor information...........................................................................................................Page 3 Tate Modern....................................................................................................................Page 9 London Eye.....................................................................................................................Page 11 The Houses of Parliament...............................................................................................Page 13 Westminster Abbey........................................................................................................Page 15 The Churchill War Rooms...............................................................................................Page 17 Tower of London............................................................................................................Page 19 Tower Bridge..................................................................................................................Page 21 Trafalgar Square.............................................................................................................Page 23 Buckingham Palace.........................................................................................................Page -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Imperial War Museum Annual Report and Accounts 2019-20
Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1. -
A Green and Pleasant Land British Landscape and the Imagination: 1970S to Now 30 September 2017 – 21 January 2018
A GREEN AND PLEASANT LAND British Landscape and the Imagination: 1970s to Now 30 September 2017 – 21 January 2018 An Arts Council Collection National Partner Exhibition TO VIEW THE LANDSCAPE AS A PICTORIAL COMPOSITION OF ELEMENTS IS SIMPLISTIC. TO PERCEIVE THE LANDSCAPE WITHIN A SET OF RULES (art, SCIENCE, POLITICS, RELIGION, COMMUNITY, BUSINESS, INDUSTRY, sport AND LEISURE) IS A waY PEOPLE CAN DEAL WITH THE COMPLEXITY OF MEANINGS THat ARE PRESENTED IN OUR ENVIRONMENT. WE ARE COLLECTIVELY RESPONSIBLE FOR SHAPING THE LANDSCAPE WE OCCUPY AND IN TURN THE LANDSCAPE Cover: Keith Arnatt, Untitled (from ‘A.O.N.B’ SHAPES US WHETHER series), 1982-94. Arts Council Collection, Southbank Centre, London © Keith Arnatt WE ARE awarE OF Estate. All rights reserved. DACS 2017. IT OR NOT. Above: Susan Derges, Full Moon Rowan, 2017. © Susan Derges. Courtesy Purdy Hicks Gallery. John Davies. Photographer A Green and Pleasant Land shows how artistic sensibilities result from feeling the artists have interpreted the British landscape presence of the earth. Light, texture and through the lens of their own cultural, detail are important and viewpoints are political or spiritual principles. Drawn often close. On the other hand, artists primarily from the Arts Council Collection, commenting on the ways in which class, as well as private collections, galleries economics and culture shape the landscape and the artists included in the show, the tend to look from the outside. Their work exhibition takes 1970 as its starting point is often expansive and encompasses clear and consists largely of photographic works. evidence of human activity – people, The early 1970s saw the emergence of an buildings, ruins, pylons – suggesting the independent photography culture in the UK. -
Négociations Fondation Maeght : Entre Célébrations Monaco - Union Européenne Et Polémique R 28240 - F : 2,50 € Michel Roger S’Explique
FOOT : SANS FALCAO ET JAMES, QUELLES AMBITIONS POUR L’ASM ? 2,50 € Numéro 135 - Septembre 2014 - www.lobservateurdemonaco.mc SOCIÉTÉ USINE D’INCINÉRATION : LES SCÉNARIOS POSSIBLES ECOLOGIE CHANGEMENT CLIMATIQUE : POURQUOI IL FAUT RÉAGIR CULTURE NÉGOCIATIONS FONDATION MAEGHT : ENTRE CÉLÉBRATIONS MONACO - UNION EUROPÉENNE ET POLÉMIQUE R 28240 - F : 2,50 € MICHEL ROGER S’EXPLIQUE 3 782824 002503 01350 pour lui Solavie pag Observateur 09/2014.indd 2 08/09/14 15:51 LA PHOTO DU MOIS CRAINTES epuis des mois, dans certains milieux, on ne parle que de ça. En principauté, le lancement des négociations avec l’Union européenne (UE) inquiète pas mal de monde. Notamment les professions libérales qui craignent Dde voir tomber le presque total monopole qu’ont les Monégasques sur ces professions très encadrées réglementairement. « Ceci entraînerait à très court terme la disparition de notre profession telle qu’elle existe depuis des siècles. Ce qui est très préoccupant. D’autant plus que ce sera la même chose pour les médecins, les architectes, les experts-comptables monégasques… », a expliqué à L’Obs’ le bâtonnier de l’ordre des avocats de Monaco, Me Richard Mullot. Une crainte qui a poussé les avocats, les dentistes, les médecins et les architectes à se réunir pour réfléchir à la création d’un collectif. Objectif : défendre auprès du gou- vernement leurs positions et leurs spécificités qui restent propres à chaque profession. En face, le gouvernement cherche à rassurer. Dans l’interview qu’il a accordée à L’Obs’, le ministre d’Etat, Michel Roger, le répète. Il est hors de ques - tion de brader ce qui a fait le succès de la princi- pauté : « Il n’y aura pas d’accord si Monaco devait perdre sa souveraineté ou si ses spécificités devaient être menacées. -
Artist Katie Schwab Joins New Collective to Co-Produce Horniman’S 2019 Studio Exhibition
For immediate release Issued 28 February 2019 Artist Katie Schwab joins new Collective to co-produce Horniman’s 2019 Studio exhibition London-based visual artist Katie Schwab has joined a new Collective of 10 local community members to co-produce the 2019 exhibition in the Horniman Museum and Garden’s new arts space, The Studio. The Collective will explore ideas around ‘memory’ and draw inspiration from the Horniman’s anthropology collections for the next Studio exhibition which will open in October 2019. The exhibition, bringing together new artwork and collections, will be accompanied by a programme of events and activities also co-produced by the Collective. The Collective members collaborating on the exhibition are: Ahmadzia, a volunteer at Southwark Day Centre for Asylum Seekers (SDCAS) and a kite maker, who came to the UK in 2006 from Kunduz, Afghanistan, and is a refugee Carola Cappellari, a photojournalism and documentary photography student who volunteered her skills to produce promotional material for the Indoamerican Refugee and Migrant Organisation, a community-led organisation supporting Latin Americans to build secure and integrated lives in the UK Francis Stanfield, a multi-tasker when it comes to music who describes himself as ‘the original stuporman’. He is influenced by surrealism, films and art, likes ‘anything out of the weird’ and joined the Collective through his involvement with St. Christopher’s Hospice Godfrey Gardin, from Kenya but living in London, who volunteers with SDCAS ‘because it enriches the community where I live’ and who also has an interest in gardening Jacqueline Benn, who has a career background in TV programming planning and immersive theatre, and whose interests lie also in the arts, and producing short films. -
The Wallace Collection — Rubens Reuniting the Great Landscapes
XT H E W ALLACE COLLECTION RUBENS: REUNITING THE GREAT LANDSCAPES • Rubens’s two great landscape paintings reunited for the first time in 200 years • First chance to see the National Gallery painting after extensive conservation work • Major collaboration between the National Gallery and the Wallace Collection 3 June - 15 August 2021 #ReunitingRubens In partnership with VISITFLANDERS This year, the Wallace Collection will reunite two great masterpieces of Rubens’s late landscape painting: A View of Het Steen in the Early Morning and The Rainbow Landscape. Thanks to an exceptional loan from the National Gallery, this is the first time in two hundred years that these works, long considered to be companion pieces, will be seen together. This m ajor collaboration between the Wallace Collection and the National Gallery was initiated with the Wallace Collection’s inaugural loan in 2019 of Titian’s Perseus and Andromeda, enabling the National Gallery to complete Titian’s Poesie cycle for the first time in 400 years for their exhibition Titian: Love, Desire, Death. The National Gallery is now making an equally unprecedented reciprocal loan to the Wallace Collection, lending this work for the first time, which will reunite Rubens’s famous and very rare companion pair of landscape paintings for the first time in 200 years. This exhibition is also the first opportunity for audiences to see the National Gallery painting newly cleaned and conserved, as throughout 2020 it has been the focus of a major conservation project specifically in preparation for this reunion. The pendant pair can be admired in new historically appropriate, matching frames, also created especially for this exhibition. -
UK Seminars on Art, Science, & Exploration Since
H-Early-America UK Seminars on Art, Science, & Exploration since C18 Discussion published by John Daniel Saillant on Monday, August 25, 2014 Aaron Mulvany Monday, August 25, 2014 H-Asia DEADLINE: 5 September 2014 The Art Fund and Heritage Lottery Fund have generously funded a series of seminars (‘Travellers’ Tails’) at the National Maritime Museum and partner museums around the UK to investigate the histories, practices and interpretation of art, science and exploration from the Enlightenment to the present day. The seminars will bring together scholars, artists, scientists, explorers, members of the public and museum professionals to examine the changing nature, impact and legacies of European exploration since the mid-18th century. The seminars will focus on today’s audiences and discuss the display and interpretation of the material culture of exploration within gallery, heritage and museum environments. Seminars will interrogate the relevance of the subject and issues surrounding its presentation in a post-imperial world. George Stubbs’ iconic paintings of a kangaroo and dingo, recently acquired by the National Maritime Museum, will provide a starting point for wider-ranging papers and discussion within a multi-disciplinary environment. Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to [email protected] by no later than Friday, 5 September 2014. We welcome submissions for papers and less-formal presentations from academics, curators, artists and other specialists in the fields. Proposals from -
Consumer Poster Project Project Completed During Phd by Project In
Consumer Poster Project Project completed during PhD by project in Fine Art at the Royal College of Art, Oct 2011 – December 2016, funded with a grant from Lipman-Milliband Trust. 'Consumer' examines the influence of capitalism on the visual landscape. In March – May 2015 I purchased advertising space around Cardiff city centre and populated it with artworks that critique capitalism. The artworks employ the methods of enticement that are often found in adverts but will invite people to think about the pervasiveness of capitalist consumption rather than impel them to buy something. The ultimate aim of the project is to encourage people to think about the pervasiveness of consumerism in capitalist society. By creating disruptions within the commercial advertising field the exhibition aims to provoke the audience to reconsider consumerism as a distraction that inhibits positive social development towards social justice and equality. I selected three artists of international repute; Ellie Harrison is an artist based in Scotland. She studied Fine Art at Nottingham Trent University, Goldsmiths College and Glasgow School of Art, where she undertook a Leverhulme Scholarship on the Master of Fine Art programme. In 2003 her project Eat 22 was shown at the Science Museum, London as part of the exhibition ‘Treat Yourself’. It is now on permanent display at the Wellcome Collection museum. In 2012 she created The Redistribution of Wealth installation at Tate Britain. Ellie Harrison is Lecturer in Contemporary Art Practices at Duncan of Jordanstone College of Art & Design. Peter Kennard is an established London-based British artist. His artwork aims to instigate debate about art, politics and society. -
Annual Review 2016/17
Historic Royal Places – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) Annual Review 2016/17 1 2 06 Welcome to another chapter in our story Contents 07 Our work is guided by four principles 08 Chairman’s Introduction 09 Chief Executive – a reflection 10 The Year of the Gardens 14 Guardianship 20 Showmanship 26 Discovery 32 Independence 38 Money matters 39 Visitor trends 40 Summarised financial statements 42 Trustees and Directors 44 Supporters 46 Acknowledgments Clockwise from top left: The White Tower, Tower of London; the West Front, Hampton Court Palace; the East Front, Kensington Palace; the South Front, Hillsborough Castle; Kew Palace; Banqueting House. 4 This year, the famous gardens of Hampton Court Palace took Guardianship: Welcome to centre stage. Already a huge attraction in their own right, this Our work is We exist for tomorrow, not just for yesterday. Our job is to give year the historic gardens burst into even more vibrant life. these palaces a future as valuable as their past. We know how another Prompted by the 300th anniversary of the birth of Lancelot guided by four precious they and their contents are, and we aim to conserve ‘Capability’ Brown, we created a spectacular programme of them to the standard they deserve: the best. chapter in exhibitions, events and activities. A highlight was the royal principles Discovery: opening of the Magic Garden; our playful and spectacular We explain the bigger picture, and then encourage people to our story 21st century contribution to 500 years of garden history.