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![Albert Irvin, Beacon II, 1994 Acrylic on Canvas 186 X 160Cm [Detail] Albert Irvin](https://docslib.b-cdn.net/cover/7944/albert-irvin-beacon-ii-1994-acrylic-on-canvas-186-x-160cm-detail-albert-irvin-87944.webp)
Albert Irvin, Beacon II, 1994 Acrylic on Canvas 186 X 160Cm [Detail] Albert Irvin
Albert Irvin, Beacon II, 1994 Acrylic on canvas 186 x 160cm [detail] Albert Irvin Albert Irvin OBE RA was born in 1922 in London, where he continued to live and work throughout his life. In the early 1940’s Irvin attended Northampton School of Art. His studies were interrupted when he was called up, serving as a navigator in the Royal Air Force during the Second World War. After the war ended he enrolled at Goldsmiths College in London to resume his studies. In 1962, he returned to Goldsmiths where he taught for twenty years. He also taught as visiting lecturer at art colleges throughout Britain. Irvin’s first solo exhibition was in 1960 at 57 Gallery, Edinburgh followed by New Art Centre in London in 1963 and 1965. He went on to exhibit extensively throughout Europe, the USA and Australia. A major retrospective of his work from 1960 to 1989 was held at the Serpentine Gallery, London in 1990. Irvin was awarded a Travel Award to America by the Arts Council in 1968 and later received an Arts Council Major Award In 1970 he moved into his Studio in Stepney Green and continued travelling to work there from his home at least 3 times a week into his 90s. He formed a working relationship with Advanced Graphics London in 1979, and began producing screenprints with them - the start of a very successful venture. 2 Irvin joined Gimpel Fils in 1982 they had regular, solo exhibitions of his work throughout his life. His works are held in many public collections including Tate, Royal Academy and the Victoria and Albert Museum, London; The British Council; Irish Museum of Modern Art, Dublin; Manchester City Art Gallery; Leeds Art Gallery and The Art Gallery of New South Wales in Sydney. -
Grizedale Forest
FORESTRY COMMISSION H.M. Forestry Commission GRIZEDALE FOREST FOR REFERENCE ONLY NWCE)CONSERVANCY Forestry Commission ARCHIVE LIBRARY 1 I.F.No: H.M. Forestry Commission f FORESTRY COMMISSION HISTORY o f SHIZEDALE FOREST 1936 - 1951 NORTH WEST (ENGLAND) CONSERVANCY HISTORY OF GRIZEDALE FOREST Contents Page GENERAL DESCRIPTION OF THE FOREST ...................... 1 Situation ••• ••• ••• ••• ••• 1 Ax*ea ancL Utilisation • • • ••• ••• ••• • • • 1 Physiography * *. ••• ... ••• ••• 4 Geology and Soils ... ... ... ... ... 5 Vegetation ... ... ... ... ••• 6 Meteorology ... •.• ••• ••• 6 Risks ••• • • • ••• ... ••• 7 Roads * • # ••• • • • ••• ••• 8 Labour .«• .«• ... .•• ••• 8 SILVICULTURE ••• * • • ••• ••• ••• 3 Preparation of Ground ... ... ... ... ... 3 t Choice of Species ... ... ... ... ... 9 Planting - spacing, types of plants used, Grizedale forest nursery, method of planting, annual rate of planting, manuring, success of establishment ... 11 Ploughing ... ... ... ... ... 13 Beating up ... ... ... ... ... li^ Weeding ... ... ... ... ... 14 Mixture of Species ... ... ... ... ... 14 Rates of Growth ... ... ... ... ... 13 Past treatment of established plantations Brashing, pruning, cleaning and thinning ... 17 Research ... ... ... ... ... 21 Conclusions ... ... ... ... ... 21 Notes by State Forests Officer ... ... ... ... 23 APPENDICES I Notes from Inspection Reports ... ... 24 II Record of Supervisory Staff ... ... 26 III Other notes of interest 1) Coppice demonstration area ... ... 27 2) Headquarters seed store ... ... 27 Map of the Forest HISTORY OF GRIZEDALE FOREST GENERAL DESCRIPTION OF THE FOREST Situation The forest is situated in the Furness Fells area of Lancashire between the waters of Coniston and Esthwaite. It lies within the Lake District National Park area, and covers a total of 5,807 acres. The name Grizedale is derived from the name given to the valley by the Norse invaders, who in the ninth century, colonised Furness and its Fells. At the heads of the high valleys, the then wild forest land was used for the keeping of pigs. -
Newsletter Contents 07-08
Newsletter No 28 Summer/Autumn 2008 He is currently working on a book on the nineteenth- From the Chair century travel photographer Baron Raimund von Stillfried. Welcome to the first of our new shorter-but- hopefully-more-frequent newsletters! The main casualty has been the listings section, which is no New SSAH Grant Scheme longer included. Apologies to those of you who found this useful but it takes absolutely ages to compile and As you’ll know from last issue, we recently launched a the information should all be readily available scheme offering research support grants from £50 to elsewhere. Otherwise you should still find the same £300 to assist with research costs and travel mix of SSAH news and general features – if you have expenses. We’re delighted to say that several any comments on the newsletter or would like to applications have already been received and so far we contribute to future issues, please let us know! have awarded five grants to researchers from around Now, let’s waste no more time and get on the world. Here we present the first two reports with the latest news… from grant recipients on how the money has been Matthew Jarron spent. Committee News Gabriel Montua, Humboldt-Universität Berlin, Germany As promised last issue, we present a profile of our newest committee member: The generous SSAH grant of £206.96 enabled me to cover my travel expanses to the Scottish National Luke Gartlan Gallery of Modern Art in Edinburgh, where I consulted item GMA A42/1/GKA008 from the Luke is a lecturer in the School of Art History at the Gabrielle Keiller Collection: letters exchanged University of St Andrews, where he currently teaches between Salvador Dalí and André Breton. -
19. South Cumbria Low Fells Area Profile: Supporting Documents
National Character 19. South Cumbria Low Fells Area profile: Supporting documents www.gov.uk/natural-england 1 National Character 19. South Cumbria Low Fells Area profile: Supporting documents Introduction National Character Areas map As part of Natural England’s responsibilities as set out in the Natural Environment White Paper 1, Biodiversity 20202 and the European Landscape Convention3, we are revising profiles for England’s 159 National Character Areas (NCAs). These are North areas that share similar landscape characteristics, and which follow natural lines East in the landscape rather than administrative boundaries, making them a good decision-making framework for the natural environment. Yorkshire & The North Humber NCA profiles are guidance documents which can help communities to inform West their decision-making about the places that they live in and care for. The information they contain will support the planning of conservation initiatives at a East landscape scale, inform the delivery of Nature Improvement Areas and encourage Midlands broader partnership working through Local Nature Partnerships. The profiles will West also help to inform choices about how land is managed and can change. Midlands East of Each profile includes a description of the natural and cultural features that shape England our landscapes, how the landscape has changed over time, the current key drivers for ongoing change, and a broad analysis of each area’s characteristics London and ecosystem services. Statements of Environmental Opportunity (SEOs) are South East suggested, which draw on this integrated information. The SEOs offer guidance South West on the critical issues, which could help to achieve sustainable growth and a more secure environmental future. -
Michael Craik
MICHAEL CRAIK EDUCATION 1999 - 2000 MA European Fine Art, Winchester School of Art, Barcelona / Winchester 1992 - 1996 BA (Hons) Fine Art, Gray’s School of Art, Aberdeen SOLO AND JOINT EXHIBITIONS 2020 Solo exhibition, Echo, &Gallery, Edinburgh 2018 Continuum, (with Gisela Hoffmann), Galerie Schmidt & Schütte, Cologne Solo exhibition at Zembla, Hawick Percezione, (with Sonia Costantini), THECA Gallery, Milan Two person exhibition (with Jeffrey Cortland Jones), &Gallery, Edinburgh 2017 The Relative Medium (with Eric Cruikshank), Galleri Konstepidemin, Gothenburg 2016 Intime, Galerie Weissraum, Kyoto 2015 Ways of Seeing (with Eric Cruikshank), Howden Park Centre, Livingston 2013 Build (with Merja Herzog-Hellsten), Galerie Salon 13, BOK, Offenbach Im Spiegel des anderen (with Eric Cruikshank), Galerie Albrecht, Berlin 2007 Razed To The Ground, Amber Roome Contemporary Art, Edinburgh 2006 Plate Tectonics, Galería Alonso Vidal, Barcelona Solo exhibition, An Tuireann Arts Centre, Portree, Isle of Skye 2005 Solo exhibition, The Hallion Club, Edinburgh Solo exhibition, Amber Roome Contemporary Art, Edinburgh 2004 Solo exhibition, Gracefield Arts Centre, Dumfries 2003 Members Lounge, Collective Gallery, Edinburgh Solo exhibition, Friction Gallery, Edinburgh 2002 Solo exhibition, Habitat, Edinburgh Solo exhibition, Deutsche Bank, Edinburgh 2000 Gap, Panorama Gallery, Barcelona ELECTED GROUP EXHIBITIONS & FAIRS 2021 Tiny yet Mighty, &Gallery, Edinburgh 2020 Art Matters, online exhibition at Galerie Biesenbach, Cologne Winter Exhibition, &Gallery, -
Art Seminar Group 1/29/2019 REVISION
Art Seminar Group 1/29/2019 REVISION Please retain for your records WINTER • JANUARY – APRIL 2019 Tuesday, January 8, 2019 GUESTS WELCOME 1:30 pm Central Presbyterian Church (7308 York Road, Towson) How A Religious Rivalry From Five Centuries Ago Can Help Us Understand Today’s Fractured World Michael Massing, author and contributor to The New York Review of Books Erasmus of Rotterdam was the leading humanist of the early 16th century; Martin Luther was a tormented friar whose religious rebellion gave rise to Protestantism. Initially allied in their efforts to reform the Catholic Church, the two had a bitter falling out over such key matters as works and faith, conduct and creed, free will and predestination. Erasmus embraced pluralism, tolerance, brotherhood, and a form of the Social Gospel rooted in the performance of Christ-like acts; Luther stressed God’s omnipotence and Christ’s divinity and saw the Bible as the Word of God, which had to be accepted and preached, even if it meant throwing the world into turmoil. Their rivalry represented a fault line in Western thinking - between the Renaissance and the Reformation; humanism and evangelicalism - that remains a powerful force in the world today. $15 door fee for guests and subscribers Tuesday, January 15, 2019 GUESTS WELCOME 1:30 pm Central Presbyterian Church (7308 York Road, Towson) Le Jazz Hot: French Art Deco Bonita Billman, instructor in Art History, Georgetown University What is Art Deco? The early 20th-century impulse to create “modern” design objects and environments suited to a fast- paced, industrialized world led to the development of countless expressions, all of which fall under the rubric of Art Deco. -
World-Famous Artist Swapping New York for Wakefield
Release date: Tuesday May 14 WORLD-FAMOUS ARTIST SWAPPING NEW YORK FOR WAKEFIELD A world-famous artist will be swapping New York for Wakefield city centre as part of a major sculpture festival this summer. Huma Bhabha (b.1962 Karachi, Pakistan, lives in Poughkeepsie, New York, USA) is creating a new sculpture which will be installed outside Wakefield Council’s County Hall near Wakefield College for three months. It’s all part of the free to see Yorkshire Sculpture International – the UK’s biggest sculpture festival this year – and backed by Wakefield Council, Wakefield College, Arts Council England and Leeds 2023. In 2018, the artist installed "We Come in Peace" on the roof of New York's Metropolitan Museum of Art, overlooking the famous Manhattan skyline and her new sculpture for Wakefield will go on display from 22 June to late September this year. This summer’s event is being presented by four world-class art galleries which make up the Yorkshire Sculpture Triangle - The Hepworth Wakefield, Yorkshire Sculpture Park, The Henry Moore Institute and Leeds Art Gallery – who are collaborating to present a sculpture festival featuring major new commissions and exhibitions at each of the four partner venues and sculpture outdoors in Leeds and Wakefield. Huma Bhabha said: “It’s always exciting to create something new for a landscape I have never worked in before. I approach all my work with the intention of making it intense, and everything else will fall into place.” Cast in bronze to stand outdoors ‘Receiver’ 2019 is a human like form which began as a sculpture carved from everyday materials including Styrofoam and cork. -
Annual Review 2017–18 National Galleries of Scotland Annual Review
Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh. -
STEPS 2019 - 2 Keep in Touch
Lancaster Alumni Magazine 2019 PROFESSOR DAME SUE BLACK A MISSION TO FURTHER ENGAGEMENT ACADEMIC FREEDOM FOR ALL THE LANCASTER SANCTUARY FELLOWSHIP PROJECT WWW.LANCASTER.AC.UK/ALUMNI Keep in touch www.lancaster.ac.uk/alumni Welcome Contents Last year, my introduction 03 07 to Steps reflected on the dramas and challenges Mission to Melissa’s facing our world. Twelve months on and little has Engage Magic Candy 15 changed – and I didn’t anticipate writing this piece Professor Dame Sue Black talks Factory in a UK that still lingers on about her vision for her new role University News the edge of Brexit! in the University. Meet Melissa Snover who was inspired to start her business Updates and developments about whilst at Lancaster. your University. Easier by Email Do we have your current email address? Most of our communications use email for speed 09 and to restrict the amount of paper we use. To ensure you receive our Friends for Life 17 Enews and event invitations, please email us at [email protected] An alumni couple, who are and we will verify that we have pursuing diverse careers and Championing the appropriate information for all returning to Lancaster to future communications. Also if you Despite the political and legislative As in many other areas of university life, celebrate their wedding. Disability Arts headwinds we face, it has been another philanthropy has played an important move house or no longer require a successful year for Lancaster, borne role in making this Institute a reality. Tony Heaton, disability activist printed copy of the magazine, please out by our UK league table placings. -
Amelia Jones/Andrew Stevenson, Performing the Body
undergraduate. The selection or the material Andy Warhol means that students can compare different White Car Crash viewpoints on roughly the same area easily - 1963 three of the four chapters in Part I deal with classical Indian art and architecture. The downside is a certain one-sidedness to a book that ostensibly deals 11ith cultural difference in all its manifestations in the world of visual culture. However, this .can be defended as the comparison between James Fergusson, Ananda Coomaraswamy and Partha ~litt er is an excellent way of introducing students to precisely the conclu sio ns Thomas heads toward s. There's also a neat juxtaposition between Jantjes' welcoming of difference and hybridity in contemporary visual culture, and Araeen's closing scepticism. I Niru Ratnam is a writer and art historian. Performativity ........................................................................ To Say is To Do Mark Harris Perfonning the Body/Perjonning the Text, eds Amelia Jones and Andrew Stephenson, Routledge, London, 1999, 306pp, 66 ill us, p/b, £15..99, 0 415 19060 6, h/b, £50, 0 415 19159 2. This is a diverse collection of 18 texts that evolved from conferences on performance and performativity organised in 1997 by edi tors Amelia Jones and Andrew Stephenson. To the editors, this variety of essays is justi fied as a way of disrupting traditional models down again. This is too intricate an issue to though when Jones and Stevenson extend it of art history. Their goal is nothing less than settle \vith off the shelf teleologies like Kant to any cultural commentary, such as art to bring about a revolution in the commen to Modernism. -
City, University of London Institutional Repository
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: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III 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 eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Butterfly Conservation Lancashire Branch News Autumn 2019
Butterfly Conservation Lancashire Branch News Autumn 2019 Sue BrindleSue President Sir David Attenborough Butterfly Conservation Head Office Manor Yard, Registered in England 2206468 East Lulworth, Wareham, Registered Charity 254937 Dorset BH20 5QP 01929 400209 Contents Pages 4-5 Message from the Chair Pages 6-16 2019 Members Day & AGM Reports Pages 17 Events Page Conservation Work Parties - Myers Allotment Page 18 Reserve and Netted Carpet Moth Page 19 - 20 Trip Report - Myers Allotment Trip Report—Holme Stinted Pasture & Holme Pages 21 - 22 Park Fell How ‘Special’ Has 2019 Been For Lancashire Page 22 - 24 Butterflies? Pages 25 - 27 Hyndburn Butterfly Project Update Pages 28 - 29 Update to Branch Sightings Page Duke of Burgundy Stepping Stones Project Pages 30 - 32 August 2019 Pages 33- 35 In Praise of Ragwort An Anniversary Look At The History Of Butterfly Page 36 - 38 Conservation Through Its Magazine Part III. Wonderful Wildflower Meadows in the Forest of Pages 39 - 41 Bowland. Pages 42 -43 National Moth Night & Moth Group Details Page 44 Branch Officer Contact Details 2 A little quiz to get you started…. A B C D E F G H I Can you match the 9 Larval food plants above to the correct Lancashire butterflies? Northern Brown Argus Large White Dark Green Fritillary Holly Blue Common Blue Painted Lady Purple Hairstreak Peacock Orange-tip Answers on Page 32 3 Message from the Chair…. A s I sit here wondering where the warm sunshine of the Bank Holiday weekend has gone, I am happy to reflect on what has generally been a good summer for our region’s butterflies and moths.