DOCSLIB.ORG

Download Publication

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Publication CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. Professor Alan Peacock asc FBA Mathew Prichard A description of the highlights of the Sir Brian Rix CB E Council's work and discussion of its policies Sir Roy Strong appear in the newspaperArts in Action which Elizabeth Thomas is published in conjunction with this Repor t Dr Robert Woof and can be obtained, free of charge, from th e Sir Brian Young Arts Council, 105 Piccadilly. London WIV OAU and arts outlets throughout the Policy and Finance Committee country. Sir William Rees-Mogg Chairma n Sir Kenneth Cork GBE Vke-Chairman Jeremy Hardie CB E Philip Jones CBE Professor Alan Peacock DSC FBA Mathew Prichard Elizabeth Thoma s Q August 19$6) STAFF Based at its headquarters in Piccadilly, Senior Staff London, the Council's staff work %ith its HEADQUARTERS Secretan-GeneralLuke Rittne r members, advisory panels and committees 105 Piccadilly Deputy Secretan°-General Anthony Everit t to administer the Council's programmes and London W1V OAU Finance Director Anthony Blackstock FCA to advise on and execute policy and funding 01-6299495 Director gfArts Co-ordination decisions. For the Council's work in England Graham Marchan t there are ten departments. ArtDirectorJoanna Drew CB E Dance Director Jane Nichola s In addition the Council administers the Drama Director Ian Brown Hayward and Serpentine Galleries and the Literature Directorto be appointed Wigmore Hall, in London, and has its own Music Director Richard Lawrence shop in Covent Garden . Outside London the Controllerof Marketing and Resource s Council funds a network of marketing offices Dylan Hammond in major regional centres to support its Controllero'WlanningJaneTaylo r touring programme . Controller ofTouringlack Phipps Personnel Manager Mary Wratten The Scottish and Welsh Arts Councils and HeadofSecretariat Lawrence Mackintosh South Bank Centre have their own staffs Accountant Richard Brooks CA based in Edinburgh, Cardiff and London. SCOTLAND DirectorTimothy Mason 19 Charlotte Square Depuh'Director Harry McCann Edinburgh EH2 4 DF ArtDirector Lindsay Gordo n 031-226 6051 Dance and Drama DirectorBob Palmer Literature Director Walter Cairns Music Director Christie Duncan CombinedArtsDirectorJohn Murphy WALES Director Thomas Owen Hol st House Depuh,Director and MusicDirector Museum Place Roy Bohana MBE. Cardiff CF13NX Art Director Peter Jone s 0222-394711 Drama Director Roger "Comlinson LiteratureDirectorhleic Stephens Director of F finance and Administratum Andrew Malin FC A SOUTH BANK CENTRE ExecutimChairman Ronald Grierson Royal Festival Hall GeneralDirector (Adni inistration) Belvedere Road Richard Pulford London SE 18XX General Director (Arts) Nicholas Snowma n 01-9210600 0 August 1986) CHAIRMAN'S INTRODUCTIO N The Glory ofthe Garden looked to a expenditure by the metropolitan countie s partnership between the Arts Council and themselves. This achievement is a tribute t o the local authorities to improve the funding the work of the staff of the Arts Council ; to of the English regions in order to provide the work of the Regional Arts Association s better access to the living arts for the peopl e and to the admirable co-operation of the who live there . We have currently reached a successor local authorities. point at which Arts Council funding an d matching funding from the local authoritie s It is not always understood that take n has increased by some 20% the expenditure together, the local authorities spend more in the regions . This has meant some holding on the arts than central government does back on expansion in London . Despite some through the Arts Council . In the comin g London complaints, Arts Council clients in year, the combined expenditure of the Arts London have coped remarkably well with Council and the local authorities will come to the funding problems that this caused them . £280m with another £20m expected from business sponsorship . Of that £300m, the The internal re-organisation has bee n Arts Council contributes £135m. We see ou r designed to provide a more active respons e role as being one of partnership both with to change in the needs of the arts and to avoi d local authorities, and with business the dangers of bureaucracy. The Arts sponsors. Indeed, as we are providing less Council has a bureaucratic function to than half the total funds available to the arts , perform, but we try to guard against a it would be very foolish of us not to recognise 1985/86 was a year of major change and bureaucratic frame of mind by appointin g the overwhelming importance of successfu l development for the Arts Council . The three people from the artistic community to th e and friendly partnership. In many cases, of key themes were implementation of the Council, its staff and advisory panels for course, the Arts Council takes the lead, bu t regional development policy The Glory of the short periods. This encourages people who in many others it is the local authorities and , Garden; a major internal re-organisation and are deeply involved in the arts to give a part in their partnership with us in the RAAs, th e a campaign of persuasion designed to ensure of their lives to the management of art s local authorities provide an essential basis o f that the arts did not suffer from the abolitio n funding, either on a voluntary or professiona l local knowledge. Without this partnership in of the metropolitan counties . Real progress basis, without committing them to a lifetime Great Britain, the arts would be much poorer was made in all of these areas and the year of service in a purely administrative role . and much scarcer than they are. can have been said to have been a successfu l one. Given its function, I believe that the Arts Council avoids bureaucracy as well as an y The Glory ofthe Garden addressed itself to institution of its kind and better than most . the disproportionately inadequate funding o f Administrative costs form an exceptionall y the English regions . The English regions low proportion of Arts Council expenditure . were receiving much less than London an d they were also receiving less than th e The third theme of the past year has been t o national regions of Scotland and Wales . It is persuade the Government that adequat e of course reasonable that London, as the new money was needed to replace th e great metropolis of the arts, should receive funding of the metropolitan counties. % more arts funding per head than the rest of have been able to negotiate settlements with the country. It always has and it always will . the successor local authorities that have in But the gap was much too wide . total, in most cases, exceeded the earlier William Rees-Mogg SECRETARY GENERAL'S PREFAC E Arts: A Great British Success Sto►y in which of operation were recommended and onl y we made a compelling economic case for time will tell how successful these change s increased public investment in the arts . This are. An organisational review is usually prospectus, together with the calm, unsettling and here again I would like to pay convinced, and co-ordinated representation s tribute to all the Council's staff for th e made by many hundreds of art s wholehearted and constructive wav in whic h organisations, by local authorities and by the they approached the re-hew Together an d R.AAs, resulted in a k9m increase in abolition after much consultation both inside and funding from the Government . It made an outside the Council, we have identified ou r impossible task possible and undoubtedl y shortcomings and possible remedies. prevented castastrophe . During the year, the Council published it s The outcome of the negotiations with action plan on the ethnic minority arts . I successor local authorities has been think most of us felt this was overdue, bu t remarkable and I must pay tribute to the loca l nevertheless it was an important step on th e authorities themselves who have responde d road to the vitally important goal we ar e so well to the funding needs of the arts in seeking, namely, to ensure that the Council 's their areas.
Load more

Recommended publications
  • POWDER-HER-FACE.Pdf
    3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo).
    [Show full text]
  • Fieldstudy 16. from a Distance
    [1] FIELDSTUDY 16 FIELDSTUDY 16 FROM A DISTANCEREAS PAUL [3] FIELDSTUDY 16 FROM A FIELDSTUDY 16 DISTANCEREAS PAUL Millions of people pass through the Elephant and Castle and its maze of roundabouts without ever noticing the people who live there. It is a place to get through, a place on the way to somewhere else. Of course, it could be argued that there is a certain reality to all of this. After all, the Elephant has one of the most transitory populations in London. Many do not settle here for long. Even the people who live here are on the move. The buildings look sharp And a photographer who but the people are blurred could set the time exposure into traces of movement, as on her camera for a century if they were ghosts. I have or so would register little that something of a problem is permanent. This is a place with our fascination with with a continual history of long exposure photography. dramatic change: from the got to the point where they Slowing down the shutter bustling and fashionable can only see from a distance: speed captures what is 1930’s with its picture houses the sort of distance from permanent but obscures and mega-churches, through which you can’t see a face, what is transient. It is a the devastation of the Nazi meet the eyes of someone, technique can generate bombings, and on to the hear who they are, imagine all sorts of exciting visual construction of large scale who and what they love. All effects, especially in cities.
    [Show full text]
  • 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.
    [Show full text]
  • Goats Flock to Grindleford a Man in a Cinema Notices What Looks the Book.” Like a Goat Sitting Next to Him
    1 October 2017 Goats Flock to Grindleford A man in a cinema notices what looks the book.” like a goat sitting next to him. “Are From which you may deduce that the you a goat?” asks the man, surprised. 2017 Grindleford Goat cyclosportive “Yes.” “What are you doing at the cin- was another great success despite tor- ema?” The goat replies, “Well, I liked rential rain in the morning. (Thank you 2 to residents for accommodating the cars parked round the village—the Bridge Field was waterlogged so we had to move to Plan B.) A largish group of won- derful volunteers pull this event together to support the community shop. This year was, amazingly, the fifth time the Goat has run. After some very sterling service several members of the original committee stood down last year and we would like to thank them very much for all they have done since the event started and for handing over with style, grace and relief to a new bunch of folk. Alan, Sue, Jane, Simon and Helen, we salute you, even though most of you were inexplicably out of the country on 9 September! The new team are now thoroughly broken in and looking forward to next year. No really, they are. Inevitably there were a few gaps this year and one or two utter stalwarts worked very hard all day to fill them. Now we know what we’re doing we will be sure to be a bit more streamlined in 2018. The Goat followed on from the awe-inspiring Hill Climb the previous evening, where cyclists pit their legs against Sir William Hill.
    [Show full text]
  • Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
    Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle.
    [Show full text]
  • SSAH Journal 2006 - Art, Art History & Research in Dundee
    SSAH Journal 2006 - Art, Art History & Research in Dundee Dr Ailsa Boyd JOURNAL OF THE SCOTTISH SOCIETY FOR ART HISTORY VOLUME XI 2006 CALL FOR PAPERS The 2006 edition of the Journal of the Scottish Society for Art History will be focused on the City of Dundee and will be guest-edited by Matthew Jarron, Curator of Museum Services at the University of Dundee. There will be two main themes to this special issue: 1) Art in Dundee We welcome any paper exploring the history of art in Dundee. This might be focused on the work of a specific artist (such as McIntosh Patrick, Alberto Morrocco or David Mach) or an artistic group or collaboration (such as the Dundee Graphic Arts Association or Dalziel + Scullion). We are interested in papers on the development of art exhibitions (from the Victoria Galleries to DCA), aspects of art education (from the Watt Institute to Duncan of Jordanstone College), art patronage (Orchar, Boyd et al) or of art publishing (the Beano being the most celebrated example!). Some of the papers for this section will be drawn from the conference Art in Dundee 1880-1920 held at the University of Dundee in 2005. We would therefore particularly encourage submissions dealing with subjects outwith this period. 2) Art History & Research in Dundee Dundee is now the only University to host a Chair of the History of Scottish Art and has recently established a Centre for the Study of Modern & Contemporary Scottish Art. We are keen to showcase the research work of art historians, curators and artists based in Dundee, whatever your area of interest.
    [Show full text]
  • DAVID MACH New York, NY 10014
    82 Gansevoort Street DAVID MACH New York, NY 10014 p (212) 966-6675 Born 1956, Methil, Fife, Scotland allouchegallery.com Lives and works in London, UK 1974-1979 Duncan of Jordanston College of Art and Design, Dundee, Scotland 1979-1982 Royal Academy of Art, London, UK SELECTED SOLO EXHIBITIONS 2019 The Paper to Prove It, Royal Scottish Academy, Edinburgh, UK 2019 Waves, Newpaper Installation, Chester Cathedral, Chester, UK 2018 Signs of Life, Collaboration Mach/Adesina, Bolee Gallery, London, UK 2018 Rock n’ Roll, Newspaper Installation, Galway, Ireland 2018 Against the Tide, Newspaper Installation, CassArt, Glasgow, UK 2017 First Station Centre, Against the Tide, Outwith Festival, Dunfermline, UK 2017 Mach Goes Commando, Royal Engineers Museum, Gillingham, UK 2017 David Mach, Alternative Facts, Dadiani Fine Art, London, UK 2016 Golgotha, Chester Cathedral, Chester, UK 2016 Mach Goes Commando, Shetlands Art Development Agency, Shetlands, UK 2015 Mach Goes Commando, DLI Museum, Durham, UK 2015 Precious Light, Center of Turin, Italy 2013 Precious Light, Palazzo Frangini, Venice, Italy 2013 David Mach, New Works, Forum Gallery, New York, NY 2012 Mach-Mania: The David Mach Show, Opera Gallery, Hong Kong 2012 David Mach-Precious Light, Galway, Ireland 2011 David Mach-Precious Light, City Arts Centre, Edinburgh, UK 2010 Iconography, Opera Gallery, London, UK 2009 Mach, Opera Gallery, Geneva, Switzerland 2008 Breaking Images, The Cat Street Gallery, Hong Kong 2008 Size Doesn’t Matter, Art Center de Vishal, Haarlem, The Netherlands 2007 David
    [Show full text]
  • Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film S
    Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film Studies 2002 Poetry performances 2020 Guest Poet on Maritime Radio Arts programme from January to April 5 poems on Write Where We Are Now online site at The Writing School Manchester University Above and Below the Water Line audio poem as part of the Electric Medway online festival. 2 Poems in The Camden New Journal 2019 Highgate Library – Jehane Markham, Linda Black and Martina Evans 2018 The Star Pub, Dartmouth Park Karamel Café for Collage Arts Master Class: Is Paradise Lost? The Writing Room, Collage Arts 2017 Readings at Karamel Café for Collage Arts Pentameters Theatre, Hampstead, Jehane Markham, Martina Evans and Donald Gardner Torriano Meeting House, Jehane Markham and Cheryl Moskowitz 2016 Poet in Residence at The Camden New Journal from 2016-2020 Osborne and After – Words and Plays Festival Clun, Shropshire Talk at the BF! Nina + Alan Clarke’s Women April 2016, Jehane Markham, Eleanor Bron, Lesley Manville and Lesley Sharp discuss Alan Clarke’s handling of feminine and feminist subjects chaired by Lizzie Francke Launch of Sixteen Sunsets Map Café, London The Pump House, Suffolk Burgh House, Hampstead York Rise Street Festival 2015 The Star, London Denville Hall, London The Room, Tottenham, London Torriano Meeting House, London 2014 Highgate Branch Library, London 2013 COAST – Passionate about Peace Highgate Branch Library, London No Glory, St James Church, Piccadilly, London Karamel Club, London Torriano
    [Show full text]
  • Glasgow City Region City Deal Cabinet Register Of
    GLASGOW CITY REGION CITY DEAL CABINET REGISTER OF MEMBERS’ INTERESTS 2018/19 Name Organisation / Project / Trust / Company etc Nature of Interest Councillor Vaughan Moody, Association of Scottish Liberal Democrat Councillors Member East Dunbartonshire Council COSLA Convention Member COSLA Leaders Member National Milk Records PLC Shareholder Park Group Shareholder Scottish Association of Landlords Member Councillor Andrew Polson Burnside Parish Church Director of Music East Dunbartonshire Council Daystar Records Self-Employed Musician Revival Radio Ltd Director Westerton Productions LLP Partnership – Television Production Councillor Tony Buchanan, Business Loans Scotland (BLS) Director/Chair East Renfrewshire Council Committee of the Regions Member COSLA Convention Member Department of Work And Pensions Employer Supplier Development Programme (SDP) Director/Chair West of Scotland Loan Fund Director/Chair West of Scotland Management Services Director/Chair Councillor Paul O’Kane, East Enable Scotland, Campaigns and Parliamentary Officer (21 Remuneration Renfrewshire Council hours) Eastwood Labour Party Election Expenses GMB Union Election Expenses Scottish Co-operative Party Election Expenses Association of Public Sector Excellence (APSE) Non-financial interest Clyde and Loch Lomond Local Plan District Joint Committee Non-financial interest East Renfrewshire Culture & Leisure Trust Board Non-financial interest East Renfrewshire Renewable Energy Fund Non-financial interest East Renfrewshire Integration Joint Board Non-financial interest
    [Show full text]
  • The Magazine of the Glasgow School of Art Issue 1
    Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson.
    [Show full text]
  • Trustee Report and Financial Statements 2011/12
    Trustee Report and Financial Statements 2011/12 Company number 5042279 Paul Hamlyn Foundation Trustee Report and Financial Statements 2011/12 1 Contents Paul Hamlyn Foundation 2 Chair’s statement 4 Director’s report 6 Arts programme 8 Education and Learning programme 13 Social Justice programme 20 India programme 25 Other grants 26 Evaluation report 28 Reference and administrative details and audit report 31 List of grants awarded in 2011/12 36 Financial review 53 Statement of Financial Activities, Balance Sheet and Cashflow Statement 57 Notes to the financial statements 60 Trustees, staff and advisors 70 2 Paul Hamlyn Foundation Trustee Report and Financial Statements 2011/12 Paul Hamlyn Foundation Paul Hamlyn was an entrepreneur, publisher and philanthropist, committed to providing new opportunities and experiences for people regardless of their background. From the outset, his overriding concern was to open up the arts and education to everyone, but particularly to young people. In 1987, he established the Paul Hamlyn Foundation for general charitable purposes. Since then, we have continuously supported charitable activity in the areas of the arts, education and learning and social justice in the UK, enabling individuals, especially children and young people, to experience a better quality of life. We also support local charities in India that help the poorest communities in that country gain access to basic services. Paul Hamlyn died in August 2001, but the magnificent bequest of most of his estate to the Foundation enabled us to build on our past approaches. Mission To maximise opportunities for individuals and communities to realise their potential and to experience and enjoy a better quality of life, now and in the future.
    [Show full text]
  • Submission Draft Hampstead Neighbourhood Plan 2018-2033
    SUBMISSION DRAFT HAMPSTEAD NEIGHBOURHOOD PLAN 2018-2033 Published in October 2017 by: Hampstead Neighbourhood Forum under the Neighbourhood Planning (General) Regulations 2012 0 1 Foreword This document represents the culmination of more than three years of work by many volunteers and is based on the input of hundreds of local people. Our aim with this Neighbourhood Plan is to promote Hampstead’s future as a lively and contemporary neighbourhood with exceptional heritage and unique open spaces. Over the course of 2014, the Forum consulted extensively with residents, businesses and other stakeholders in Hampstead. We appeared at festivals, met with groups and individuals, got out the word through our website and the local media and managed to increase our membership from about 150 to more than 1000. Several hundred people attended our three consultation events. We listened to your feedback and worked hard to incorporate your views into a “Vision” document. The excellent response helped us establish a clear set of aims and objectives for how the local community would like to shape future development. During 2015 and 2016, we sought to put some policy flesh on these visionary bones, or rather, some teeth. We also spent many months gathering the evidence to back up these policies. We presented our draft Neighourhood Plan for consultation in the spring of 2017 and received overwhelming support for the policies it contained. We are grateful for the support we have received from Locality and would like to thank everyone who has helped produce this document, to the Forum Committee, to all of our local Councillors, to our consultants at Fortismere Associates, to Deborah McCann for conducting our Health Check and to Andrew Triggs and Brian O’Donnell at Camden Council for their guidance and support.
    [Show full text]