Michael Kidner (1917-2009)
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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
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 -
Jeffrey Steele
Jeffrey Steele RCM Galerie Jeffrey Steele La structure et le rythme La structure et le rythme : sur l’art de Jeffrey Steele Le peintre britannique Jeffrey Steele a été l’une des figures artistiques les plus en vue au sein de ce grand mouvement qui a animé les années 1960, l’art cinétique. Grâce à un seul tableau, peint en 1964, immédiatement devenu l’archétype de ce qu’un journaliste de Time Magazine désigna sous l’abréviation d’ Op Art pour Optical Art, en prenant bien le soin d’annoncer dans le titre de l’article sa teneur : « Pictures that attack the Eye ». Pour l’Amé- rique, le ton était donné. L’oeuvre intitulée Baroque Experiment - Fred Maddox devint tout de suite emblématique de la grande exposition internationale The Responsive Eye, qui fut organisée l’année suivante au Museum of Modern Art à New York par William C. Seitz et qui connut malgré les réserves d’une partie du public et de la presse en général un grand retentissement. Baroque Experiment - Fred Maddox, le tableau de Jeffrey Steele aujourd’hui chez un col- lectionneur brésilien, est en effet exemplaire de son art : abstrait, géométrique, bi-dimen- sionnel, fortement structuré par un ensemble de rectangles concentriques partant du centre et augmentant vers la périphérie, en même temps déstabilisé par le basculement de ses élé- ments dans un sens et dans l’autre. Les espaces ainsi créés se trouvent entièrement occupés d’une même forme en demi - lune répétée dont la hauteur est proportionnelle à la largeur des espaces. Le noyau central quant à lui est tapissé de cercles pleins. -
The Scratch Orchestra and Visual Arts Michael Parsons
The Scratch Orchestra and Visual Arts Michael Parsons Leonardo Music Journal, Vol. 11, Not Necessarily "English Music": Britain's Second Golden Age. (2001), pp. 5-11. Stable URL: http://links.jstor.org/sici?sici=0961-1215%282001%2911%3C5%3ATSOAVA%3E2.0.CO%3B2-V Leonardo Music Journal is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 29 14:25:36 2007 The Scratch Orchestra and Visual Arts ' The Scratch Orchestra, formed In London in 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton, included VI- sual and performance artists as Michael Parsons well as musicians and other partici- pants from diverse backgrounds, many of them without formal train- ing. -
The Journey Nick Archer the Journey
NICK ARCHER THE JOURNEY NICK ARCHER THE JOURNEY 5 October – 1 November 2017 LONG & RYLE 4 John Islip Street, London SW1P 4PX t : +44 (0) 20 7834 1434 • e: [email protected] www.longandryle.com • tues – fri 10–5:30 sat 11–2 THE 3 JOURNEY Nick Archer’s new landscape paintings focus on dwarfed and overwhelmed by the beauty of its our relationship with the natural world and its surroundings. The power of nature and its sublime place in our imagination. qualities appear to be a central force within these paintings and his method betrays a magic in spite The paintings are at first glance made from of the dark places he takes us. beautiful passages of rich colour which have been flooded onto the canvas, exposing interior Archer is not attempting to capture something landscapes that echo hollow fear and an inner about a particular place or time in these paintings, amazement like a child watching an abandoned rather a notion or idea of landscape in a grander fairground coming alight in the dark. An imaginary sense, something in our imagination which refers landscape, where a seemingly enchanted to traditional fairy tales and time gone by. At times landscape lifts off the canvas and into the mind’s a caravan, a vehicle or run-down cottage is central eye. to the composition. These motifs possess human qualities, but they are abandoned and in a state of The new series of forest paintings Archer has made decay. They are in the process of being reclaimed are like scenes from contemporary fairy tales. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
A Survey of Acrylic Sheet in Portuguese Art Collections Levantamento De Obras De Arte Em Chapa Acrílica Em Coleções Portuguesas
ARTICLE / ARTIGO ARTICLE / ARTIGO A survey of acrylic sheet in Portuguese art collections Levantamento de obras de arte em chapa acrílica em coleções Portuguesas Sara Babo1, Joana Lia Ferreira1 1 Department of Conservation and Restoration and Research Unit LAQV-REQUIMTE, NOVA School of Science and Technology (FCT NOVA), 2829-516 Monte da Caparica. *corresponding author: [email protected] Abstract Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA). Attractive to artists since its development in the 1930s, it became especially popular during the 1960s. In Portugal, knowledge about its use by artists and its condition is scarce. In this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding 137 artworks by 69 different artists registered as containing acrylic. Results show that this material is being used by Portuguese artists at least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches. Keywords acrylic; poly(methyl methacrylate); collections survey; condition survey; plastics conservation; contemporary art Resumo A chapa acrílica, também conhecida pelos nomes comerciais Plexiglas ou Perspex, consiste em poli(metacrilato de metilo) (PMMA). Atractiva para os artistas desde o seu desenvolvimento na década de 1930, popularizou-se durante a década de 1960. -
Michael Kidner Interviewed by Penelope Curtis
NATIONAL LIFE STORIES ARTISTS’ LIVES Michael Kidner Interviewed by Penelope Curtis & Cathy Courtney C466/40 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/40/01-08 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Kidner Title: Interviewee’s forename: Michael Sex: Male Occupation: Dates: 1917 Dates of recording: 16.3.1996, 29.3.1996, 4.8.1996 Location of interview: Interviewee’s home Name of interviewer: Penelope Curtis and Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F5079-F5085, F5449 Total no. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Systems in the Post-War Art School: Basic Design, Groundcourse and Hornsey Catherine Sloan VOLUME I PhD The University of Edinburgh 2013 1 THE UNIVERSITY OF EDINBURGH ABSTRACT OF THESIS Regulation 3.1.14 of the Postgraduate Assessment Regulations for Research Degrees refers These regulations are available via: http://www.ed.ac.uk/schools-departments/academic- services/policies-regulations/regulations/assessment Name of Candidate: Catherine Sloan Address : 10/2 Dalmeny Street, Edinburgh Postal Code: EH6 8RA Degree: Doctor of Philosophy Title of Thesis: Systems in the Post-War Art School: Basic Design, Groundcourse and Hornsey No. of words in the main text of Thesis: 85,000 This thesis makes the first sustained attempt to locate post-war British art school pedagogy in relation to systems-inspired cultural practice after World War II. -
Katrina Blannin, Andrew Bick, Conversations Around Marlow Moss, Abstract Critical, 20 August 2014
H A L E S critical ANDREW BICK Katrina Blannin, Andrew Bick, Conversations Around Marlow Moss, Abstract Critical, 20 August 2014 Marlow Moss at Leeds Art Gallery, 2014 Katrina Blannin and Andrew Bick look back at be talking about some of the issues that I was facing in Conversations around Marlow Moss, an exhibition my own practice. I still think that the idea of a ‘rational they curated at &Model in Leeds earlier this summer. aesthetic’ is a tricky one, though very much alive… Since The & Model exhibition was timed to coincide with the then, we have all three of us been in dialogue. You and I exhibition Parallel Lives: Marlow Moss & Claude Cahun, have curated shows and organised talks, visited studios on at Leeds Art Gallery until the 7th of September. and transcribed interviews – and there have been some long telephone conversations including many of the The artists shown in Conversations around Marlow associated artists from the Construction and Systems Moss were: Eva Berendes, Andrew Bick, Katrina Blannin, groups. It’s a cross-generational approach that not only Liadin Cooke, Cullinan Richards, Adam Gillam, Maria challenges individual practice – bringing the dialogue Lalic, Peter Lowe, David Saunders, Jean Spencer, Jeffrey into the studio and taking the practice out into dialogue Steele. Alongside these artists the 1977 print portfolio – but also contributes to self-generated didactic and cross Rational concepts, 7 English artists was shown, which fertilizing research programmes, which artists are often comprises: Norman Dilworth, Anthony Hill, Malcolm very good at sustaining, despite the commercial gallery Hughes, Peter Lowe, Kenneth Martin, Jeffrey Steele, system’s taste for individualism and lone pioneers. -
Forces of Nature Exhibition Catalogue
Gallery 94 Forces of Nature 19 June - 31 August 2021 Forces of Nature is a group exhibition exploring our increasingly complex relationship with the natural world. From imagined landscapes to topographical views, highly personal perspectives and almost scientific observations, this group exhibition considers nature’s strength, its beauty and fragility, fears about its degradation and human impact on the environment. The exhibition challenges us to reframe nature’s life-giving forces and in this anthropocene age, our power and responsibility to protect nature for the future. Featuring new work by 18 artists from across the UK, Forces of Nature is Glyndebourne’s first all-women exhibition. The exhibiting artists are Lesley Birch, Kate Boucher, Katie Brookes, Morag Caister, Lara Cobden, Linda Felcey, Michele Fletcher, Christabel Forbes, Jelly Green, Melanie Goemans, Tyga Helme, Linda Jamieson, Kathryn Johnson, Rosie Lascelles, Kathryn Maple, Esther Donaldson Nyandwi, Jayne Sandys-Renton and Victoria Sebag. This exhibition has been curated by Nerissa Taysom. For further information, hi-res images or to discuss bespoke framing and commissions, please contact [email protected]. You can also follow the art programme at Glyndebourne on instagram @artatglyndebourne. 1 Lesley Birch Lesley Birch (b.1958) is a Scottish painter currently based in York. She studied for an MA in English Literature and Music at the University of Glasgow, before spending the 1980s touring across the UK and USA as a professional musician. Birch began exploring her interest in art in 2000 whilst teaching English Literature in Cambridge. After moving to Yorkshire, she won a ‘highly commended’ in the Harrogate Open (2007) and held her first solo show, Land & Sky, at the Yorkshire Dales Centre (2008). -
Doing the Rounds
Cover Doing the Rounds An exhibition of extracts from the Art Collection of the Waterford Healing Arts Trust Introduction Trust in Waterford Regional Hospital. The artworks were must consider this when selecting and placing selected by the Arts Co-ordinators who work with the the artwork. The presence of visual arts in hospitals has a long four participating hospitals – Mary Grehan, Waterford and continuing history. Hogarth painted his acclaimed Regional Hospital, Dara Carroll, The Mater Campus This exhibition affords opportunities for the viewers ‘The Pool of Bethesda’ and ‘The Good Samaritan’ Hospital Development, Sheila Grace, St James’s to give their response to the exhibition through in St. Bartholomew’s Hospital, London, in the 18th Hospital and Margaret Flannery, Galway University questionnaires available as part of the exhibition. We century. Painting in Hospitals was established in 1959 Hospitals. The selection reflects two main strands hope to explore, through responses received, the nature in Britain as a charity dedicated to improving healthcare of work – the first strand comprises artworks which of the art viewing experience in hospitals and the extent environments through the loan of original artworks. In were produced in response to the hospital context by to which art in hospital engages people who would not Ireland, Waterford Regional Hospital was one of the previous Artists-in-Residence, such as ‘The Wishing otherwise choose to access contemporary art. first hospitals in modern times to enhance the healing Balloon Project’ by Brigid Teehan and Aidan Dunne environment through the integration of contemporary and the Pyjamas Series by Maria Casey. The second The process of collaboration between the Arts and art.