Lookin Thinkin Speakin

Total Page:16

File Type:pdf, Size:1020Kb

Lookin Thinkin Speakin Sections 1 PROGRAMME LOOKing 2 STUDENTS 3 PARTNERSHIPS THINKing 4 SUPPORTERS SPEAKing ARTiculation: getting young people talking about the arts 1 Welcome Learning to look and speak about art has We now involve more than 4,000 students always been the mantra of the Roche Court in a rich and diverse annual programme. Educational Trust. From this has grown Our training for undergraduates helps them ARTiculation, a public speaking competition to develop skills so they can mentor future for students aged 16-19 years old, from participants in the ARTiculation Prize and both the state maintained and independent our ambition for the future is to develop sectors. They are invited to deliver opportunities for the expanding alumni ten-minute presentations in front of an network. audience, about a work of art, architecture or an artefact of their choice. Through all our activities we aim to ensure there is a cohort of young articulate people The first competition took place at the with the confidence and ability to express New Art Centre in 2006, and since then a themselves. This is a skill which my fellow small dedicated team there has developed Trustees and I know will help them in all ARTiculation nationally. ARTiculation has aspects of their lives. been embraced by a network of museums throughout the country, culminating in the Final at Clare College, Cambridge. In addition, ARTiculation Ireland, ARTiculation Scotland and, in conjunction with the British Council, ARTiculation Italy, now all take place. In all these competitions, adjudicators are asked to assess each presentation as a whole, looking at content, structure, delivery Bill Woodrow and the speaker’s original approach and Chairman unique potential. The wonderful thing January 2017 about ARTiculation is that taking part is as important as winning. The ARTiculation Prize heats take place from January to March each year. To back up Roche Court Educational Trust schools who wish to take part, the team has Bill Woodrow RA expanded their delivery and a wide network Anne Beckwith-Smith LVO of partnerships; partnerships with venues, Madeleine Bessborough OBE FRCA partnerships with schools and universities, Robin Creswell MA FCSI partnerships with sponsors and partnerships William Grant MA MEd with ARTiculation alumni. Rhoddy Voremberg MA LOOKing, THINKing, SPEAKing 3 PROGRAMME ARTiculation is a programme within The Over 4,000 young people from 200 schools Roche Court Educational Trust, an arts currently take part in ARTiculation events education charity based at the New Art every year. The initiative is recognised by Centre in Wiltshire. Set up in 2005, the Trust university admission tutors and A-Level works with young people, specialist groups exam moderators as an indication of and teachers to develop knowledge, skills students’ abilities to research, communicate, and confidence by looking, thinking and express and present their ideas. Taking speaking about art. part in the annual ARTiculation Prize gains valuable UCAS points for students through ARTiculation is the Trust’s national and the Arts Award and the Extended Project international public speaking initiative, Qualification (EPQ). championing the appreciation and discussion of art. It enables a wide range of Leading arts professionals support the students aged between 14 and 23 to develop initiative, and past contributors include their confidence and ability to express their Sir Antony Gormley, Hannah Rothschild, opinions, thoughts and reactions to the Jon Snow, Tim Marlow, and Edmund de Waal. visual world. ARTiculation helps develop articulate, helpful ARTiculation works across England, young people and provides opportunities Scotland, Ireland and Italy to deliver the for its alumni to present at conferences, annual ARTiculation Prize alongside a teachers’ events and be published in number of other ARTiculation initiatives. We magazines and journals. Its role in shaping work with 50 museums, galleries, universities the art historians of the future was the and arts associations to ensure that the next subject of the BBC’s Culture Show presented generation is equipped with the ability to by Alistair Sooke in 2014. share their views about the visual world in which they live. Student with Anthony Caro ‘Millbank Steps’ 2004 © the artist and courtesy of the New Art Centre, 1 Roche Court PROGRAMME 5 A SUCCESS STORY 2006 2014 2018 ARTiculation established 1 REGION 5 REGIONS 8 REGIONS South East South East & Kent, London, Yorkshire, South East & Kent, London, Yorkshire, ARTiculation not yet established West Midlands & Central South, West Midlands & Central South, East of England East of England, South West, North East, ARTiculation in development North West ARTiculation Scotland ARTiculation Ireland ARTiculation Scotland Since 2006, 14,500 young people have taken ARTiculation Ireland part in ARTiculation. ARTiculation Italy 225 3000 5000 YOUNG PEOPLE YOUNG PEOPLE YOUNG PEOPLE PROGRAMME 7 WHAT WE DELIVER The ARTiculation Prize invites students The Discover ARTiculation Prize is aimed aged between 16 and 19 in full-time further at younger students, and was developed education - from both state maintained and as part of our long-standing partnership independent sectors - to deliver ten-minute with the University of Leeds. 14 to 16 year presentations about architecture, a work old students submit 2 to 3 minute video of art or an artefact of their choice to an presentations on art subjects of their choice. audience. Adjudicators select one student Adjudicators assess each presentation and from each heat held at museums and select students to speak at their own Final, galleries to speak at the Final. with the chance to develop presentations which last up to 10 minutes. The ARTiculation Symposium is designed to engage students in art history as well as ARTiculation Training for Undergraduates offering an insight into university life. The day is delivered in partnership with universities includes a university fair, a Q & A session on and colleges. Undergraduates are equipped university admissions, a keynote lecture and with the skills necessary to facilitate the ARTiculation Final. ARTiculation Discovery Days and ‘Crit’ Sessions for younger school students. ARTiculation Discovery Days are hosted in partner galleries and museums and invite participants aged 14 to 18 to explore the hosts’ exhibitions and collections through research, group discussion and interviews with curators. At the end of the day each student delivers their research and personal responses in short group presentations. Constructive feedback is given. ARTiculation ‘Crit’ Sessions are open to all 16 to 19 year olds and are designed to give an introduction to critical visual analysis, based on the art school ‘Crit’ model. Sessions take place at partner museums, galleries and universities and aim to support students who are thinking of going on to take part in the Page opposite: ARTiculation at the British Pavilion, ARTiculation Prize. at the Venice Biennale 2015 PROGRAMME 9 DELIVERY ‘As I have attended heats up and down the country, I have never ceased to be impressed by young people rising to the challenge of communicating their observations about the visual arts and it is so gratifying to see their confidence grow. I was privileged to be an adjudicator and gained insight into the development of critical thinking skills that ARTiculation encourages, not to mention the difficulty of selecting a winner from such prodigious young talent!’ Students at an ARTiculation Discovery Day, Elizabeth Brooks in The Playground Project at BALTIC Centre for Adjudicator in 2016 Contemporary Art, Gateshead PROGRAMME 11 DELIVERY TIMELINE ARTICULATION ENGLAND HEATS EVALUATING FINAL DISCOVER SYMPOSIUM ARTICULATION UNIVERSITY PRIZE FAIR PLANNING AND DEVELOPING IN LEEDS ARTICULATION REPORTING RESEARCHING ALUMNI EVENTS ITALY ARTICULATION ARTICULATION UNDERGRADUATE WORK PLACEMENTS DELIVERING ‘CRIT’ PRE-HEATS IRELAND SCOTLAND TRAINING DISCOVERY DAYS SESSIONS STRATEGIC EVOLUTION FUNDRAISING, NETWORKING, RESEARCHING JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER TEACHERS’ DAY PARTNERS’ DAY SPONSORS’ DAY ARTiculation ARTiculation PRIZE FINAL PRIZE APPLICATION DEADLINE ARTiculation Prize England Discover ARTiculation for 14-16 year olds Alumni specific event International activities Ongoing office based development Team delivery Strategic evolution Research LOOKing, THINKing, SPEAKing 13 ‘ARTiculation is changing the future of British art criticism STUDENTS for the best.’ Antony Gormley ARTiculation 2012 Finalists with Adjudicator Jon Snow 2 STUDENTS 15 These are the most popular topics chosen by students and the size reflects the frequency of choice. TOPICS DISCUSSED 20000 BC BYZANTINE EDO PERIOD ANCIENT HISTORY GOTHIC ARCHITECTURE1500s VIDEO ART 1000 BC HIERONYMUS BOSCH ANCIENT GREEK GRAPHIC NOVEL RENAISSANCE 1400s LATE MEDIEVAL MARLENE DUMAS VIDEO GAME MEDIEVAL 500 BC NORTHERN RENAISSANCE 1600s CONCEPTUAL TATTOO HENRY MOORE AZTEC EMPIRE BAROQUE CONTEMPORARY CERAMICS2000s ILLUSTRATION ITALIAN RENAISSANCE PUBLIC ART POST-IMPRESSIONISM ANIMATION STREET ART NEOCLASSICISM DOUARD MANET RAILWAY ARCHITECTURE SYMBOLISM JACKSON POLLOCK 1700sINSTALLATION ART ROMANTICISM WAR MEMORIALS PRE-RAPHAELITES NEO-GOTHIC CONTEMPORARY FILM IMPRESSIONISM 1800s PHOTOREALISM GRAFFITI DOCUMENTARY PHOTOGRAPHY PERFORMANCE ARTYBA VICTORIAN PAINTING HARLEM RENAISSANCE REALISM SURREALISM ROCOCO FRENCH RENAISSANCE CONTEMPORARY FASHION ABSTRACT EXPRESSIONISM EXPRESSIONISM1900sBAUHAUS ABSTRACT
Recommended publications
  • PDF Download
    CITY OF LONDON’S PUBLIC ART PROGRAMME SCULPTURE IN THE CITY – 2016 EDITION ANNOUNCED 6th Edition to site 15 works in and around architectural landmarks from the Gherkin to the Cheesegrater Large-scale pieces to include works by Sarah Lucas, William Kentridge & Gerhard Marx, Sir Anthony Caro, Enrico David, Jaume Plensa and Giuseppe Penone Jaume Plensa, Laura, 2013, Cast Iron, 702.9 x 86.4 x 261 cm, Photo: Kenneth Tamaka 28 June 2016 – May 2017, June media previews and installation opportunities to be announced www.cityoflondon.gov.uk/sculptureinthecity @sculpturecity /visitthecity @visitthecity #sculptureinthecity 16 May, 2016, London: The City of London’s annual public art programme, Sculpture in the City, places contemporary art works in unexpected locations, providing a visual juxtaposition to the capital’s insurance district. This year’s edition, the largest to date, will showcase 15 works ranging considerably in scale. A seven-metre high, cast-iron head, by Catalan sculptor Jaume Plensa will peer over visitors to the Gherkin, while a series of delicate and playful lead paper chain sculptures © Brunswick Arts | 2016 | Confidential | 1 by Peruvian artist, Lizi Sánchez, will invite the attention of the more observant passer-by in multiple locations including Leadenhall Market, Bishopsgate and in and around the Cheesegrater. The critically acclaimed, open-air exhibition, has built a rapport with many who live, work and visit the area. Sculpture in the City is known for bringing together both established international artists and rising stars. During the month of June, works will begin to appear around the unique architectural mix of London’s City district.
    [Show full text]
  • University of Warwick Art Collection Annual Report 2015-16
    University of Warwick Art Collection Annual Report 2015-16 Mission Art is intrinsic to the University of Warwick - to its physical, social and academic environment. The original purpose of the Art Collection was the display of works of art in the public spaces of the University. The Art Collection is not displayed in a museum or gallery; the majority of items are on display across the University campus and its other sites. They function as open texts, offering a variety of readings to successive generations of students, staff and visitors. It demonstrates the University’s support of contemporary culture and, in particular, of young professionals working at the leading edge of their field. The education and interpretation programmes that support the collection are open to everyone and contribute to lifelong learning as well as to the work of departments on campus and schools and colleges across the region. Aim To manage and develop the University of Warwick Art Collection to create a significant resource of contemporary art for the campus and for the region. Objectives 1. To contribute to the creation of a distinctive and stimulating campus environment through the development of displays, interpretation and opportunities for meaningful engagement with works of art. 2. To sustain an exceptional teaching, learning and research experience for campus departments, schools and colleges, visitors and audiences through the development of opportunities to interrogate, experience and work with art objects and with artists. 3. In collaboration with academic departments, to develop commissions for new buildings and for the campus that embrace learning and research. 4.
    [Show full text]
  • Mcmichael Canadian Art Collection Datasheet
    TITLE INFORMATION Tel: +44 (0) 1394 389950 Email: [email protected] Web: https://www.accartbooks.com/uk McMichael Canadian Art Collection Director's Choice Ian A. C. Dejardin ISBN 9781785511769 Publisher Scala Arts & Heritage Publishers Ltd Binding Paperback / softback Size 190 mm x 165 mm Pages 80 Pages Illustrations 40 color, b&w Price £12.95 A selection of highlights from the McMichael Canadian Art Collection Celebrates the Canadian spirit and landscape through luminous artworks from Tom Thomson, the Group of Seven and many historical and contemporary Indigenous artists The story of each artwork is revealed in Ian Dejardin's engaging, personable style Part of the successful Director's Choice series The McMichael Canadian Art Collection has a unique mandate to celebrate the art of Canada, which it does within a great building in beautiful grounds overlooking the Humber River Valley. Originally a home completed in 1954 for entrepreneur Robert McMichael and his wife Signe, the building became an unofficial gallery when they began allowing passers-by and school parties inside to view their art collection. In 1965 they took the visionary step of donating their home, collection and land to the Province of Ontario and in 1966 the McMichael officially opened to the public. The permanent collection now consists of over 6,400 artworks. The iconic Canadian landscape artist Tom Thomson (1877-1917) features prominently, as do his colleagues the Group of Seven and their contemporaries. Historic and contemporary Indigenous art accounts for over a third of the total collection and is celebrated in the Gallery's dynamic exhibition program.
    [Show full text]
  • The Henry Moore Foundation Review Contents
    Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Tim Llewellyn 7 Financial Statement 2005 – 2006 8 Henry Moore Collections and Exhibitions Anita Feldman Bennet 11 Restoration of Hoglands David Mitchinson 12 Henry Moore Institute Penelope Curtis 15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth 16 Grants Programme 20 Publications 23 General Information Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary.
    [Show full text]
  • The Ethics of Meaning
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Ethics Of Meaning Robert B. Willison University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ethics and Political Philosophy Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Willison, Robert B., "The Ethics Of Meaning" (2017). Publicly Accessible Penn Dissertations. 2795. https://repository.upenn.edu/edissertations/2795 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2795 For more information, please contact [email protected]. The Ethics Of Meaning Abstract This dissertation develops an ethics of meaning. In the first chapter, I offer an account of meaning that comprehends its many varieties—natural, cultural, linguistic, literary, and ethical meaning, for example—by appeal to the structural role meaning plays in the practice of interpretation. In Chapter 2, I develop a distinctive account of the concept of ethical meaning (“meaning” as it’s used in the phrase “the meaning of life”). In Chapter 3, I develop a new account of irony on the basis of the comprehensive-interpretive account of meaning introduced in Chapter 1. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Philosophy First Advisor Michael Weisberg Keywords Ethics, Irony, Meaning Subject Categories Ethics and Political Philosophy | Other Languages, Societies, and Cultures | Philosophy This
    [Show full text]
  • Elizabeth Price: a Restoration the Contemporary Art Society Award
    Ashmolean Museum of Art and Archaeology University of Oxford press release Beaumont Street Oxford OX1 2PH www.ashmolean.org 14 March 2016, for immediate release: Elizabeth Price: A RESTORATION The Contemporary Art Society Award 18 March–15 May 2016 Elizabeth Price, winner of the 2013 Contemporary Art Society Award, has created a new work in response to the collections and archives of the Ashmolean and Pitt Rivers museums, in partnership with the Ruskin School of Art, Oxford, where Price teaches. The new commission is a fifteen-minute, two-screen digital video which employs the museums’ photographic and graphic archives. It is a fiction, set to melody and percussion, which is narrated by a ‘chorus’ of museum administrators. The film opens with the records of Arthur Evans’s excavation of the Cretan city of Knossos. The administrators use Evans’s extraordinary documents and photographs to figuratively reconstruct the Knossos Labyrinth within the museum’s computer server. They then imagine its involuted space as a virtual chamber through which a wide range of artefacts from the two museums digitally flow, clatter and cascade. Elizabeth Price at the Contemporary Art Society Awards, 2013 Elizabeth Price says: ‘It has been a great pleasure and privilege to work with the museums, to have such a unique opportunity to delve into their archives and draw upon the knowledge and expertise of their staff. In my film I have tried to reflect upon the objects that the two museums hold and exhibit, through the history of their repeated depiction in photographs, prints and drawings. In this history of images and interpretations we see the objects change – and this is the basis for the story I have imagined.’ Turner Prize winner, Elizabeth Price, is an artist who uses images, text and music to explore archives and collections.
    [Show full text]
  • Marion Coutts
    Marion Coutts www.marioncoutts.com books 2014 The Iceberg, Winner of the Wellcome Book Prize 2015 Published by Atlantic Books 2014, hardback 294 pp. ISBN 978-1782393504, paperback ISBN 978-17823934528 Shortlisted for the Samuel Johnson Prize for non-fiction 2014; the Costa Biography Award 2015; the Pol Roger Duff Cooper Award 2015. Longlisted for the Guardian First Book Award 2014 Finalist in the National Book Critics Circle Awards of America 2017 Mandarin edition 2015: Spanish edition 2016: US edition 2016: Audible Audiobook 2016: simplified Chinese edition 2017 2012 English Graphic, Tom Lubbock Edited by Marion Coutts with an introduction by Jamie McKendrick. Published by Frances Lincoln, October 2012. Hardback. 208 pp. ISBN 978-0-71123-370-6 Until Further Notice, I am Alive, Tom Lubbock: Introduction by Marion Coutts co-edited by Marion Coutts and Bella Lacey. Published by Granta, April 2012. Hardback. 160pp. ISBN 978-1-84708-531-3 links Andrew Solomon, NY Times: http://www.nytimes.com/2016/02/14/books/review/the-good-death-when-breath-becomes-air-and-more.html?_r=0 Little Atoms podcast: http://littleatoms.com/podcast/wellcome-book-prize-special-henry-marsh-and-marion-coutts 5x15 podcast: http://5x15stories.com/presenter/marion-coutts/ selected solo exhibitions 2017 Tintype, London 2008 Twenty Six Things Wellcome Collection, London 2007 New Art Centre, Roche Court, Wiltshire 2005 Money Tablet, London Mountain Kettle’s Yard, Cambridge 2004 Everglade 2 Princelet Street, London Angel Row Gallery, Nottingham 2003 Kettle’s Yard, Cambridge
    [Show full text]
  • Haas Press Release.Indd
    Press Release For immediate release: 1 May 2012 Monumental contemporary sculpture installation joins Warhol for a modern summer Dulwich Picture Gallery is excited to present a monumental installation in its grounds to coincide with Andy Warhol: The Portfolios, The Bank of America Collection. The Four Seasons, a set of four fi fteen-foot fi breglass sculptures by American artist and fi lm-maker Philip Haas, will be the fi rst ever public display of all four works and continues the Gallery’s commitment to displaying contemporary sculpture. In a spectacular transformation that is typical of his work, Philip Haas has created a group of large-scale sculptures, inspired by Giuseppe Arcimboldo’s renaissance paintings of the four seasons, comprising Spring, Summer, Autumn and Winter. The colossal size of Haas’s sculpture accentuates the visual puzzle of natural forms –- fl owers, ivy, moss, fungi, vegetables, fruit, trees, bark, branches, twigs -– as they are recycled to form four human portraits, each representing an individual season. The result is at once grotesque, earthy, and exuberant. Giuseppe Arcimboldo’s eccentric, yet scientifi cally accurate, paintings of composite heads in profi le were popular in the 16th century and then again in the 20th, when they were rediscovered by the Surrealists. Haas’s 21st–century reinterpretation has taken these beguiling paintings and brought them into the natural world. The idea of Arcimboldo in three dimensions is intriguing as the paintings are all in profi le so the face-on view is something the viewer would never have seen. The fi rst work, Winter, was made in 2010 and was exhibited to great acclaim at the National Gallery of Art, Washington, D.C., before travelling in 2011 to the Piazza del Duomo in Milan and the Garden of Versailles.
    [Show full text]
  • Contemporary Art Society
    pantone 137 pantone 5195 CAS gratefully acknowledges the generous support of: We promote the collecting of Contemporary contemporary art through our gifts to public museums Art and the advice and guidance we offer Society companies and individuals Contemporary Art Society annual report 1999/2000 design giant arc design 01273 325067 pantone 137 pantone 5195 patron Her Majesty Queen Elizabeth The Queen Mother vice-patrons Bryan Ferry Caryl Hubbard Pauline Vogelpoel Mann The Lord McAlpine of West Green The Lord and Lady Sainsbury of Preston Candover The Lady Vaizey The Viscount and Viscountess Windsor artist patrons Sir Anthony Caro, OM Bridget Riley, CH committee members Oliver Prenn Chairman Jim Moyes Vice Chairman until October 1999 Pesh Framjee Honorary Treasurer Mark Stephens Honorary Solicitor Lance Blackstone Honorary Secretary Jolyon Barker Wendy Baron Janice Blackburn Rupert Gavin until September 1999 Robert Hopper until December 1999 Sean Rainbird Ann Stanton Babs Thomson director Gill Hedley projects director Cat Newton-Groves projects manager Lara Sampson collections curator Mary Doyle registrar Brendan Caylor until December 1999 office manager Paula Hollings from March 2000 events/membership manager Kate Steel assistant collections curator Jessica Wallwork ARTfutures selector Jeni Walwin contents ... Contemporary Art Society annual report 1999/2000 I chairman’s report 2 II director’s report 3 III members’ events 1999/2000 7 IV projects’ report 11 V museums’ report 13 VI buyers’ report 21 VII Nancy Balfour collection exhibition 23 VIII member museums 24 IX statement of financial accounting 26 X about Contemporary Art Society 28 Contemporary Art Society I chairman’s report When Gill Hedley sent me a draft of Finally, I was greatly encouraged by her comprehensive review of our the number of new buyers at activities I told her that she had left me ARTfutures.
    [Show full text]
  • 2019 Press Pack Château De Vullierens
    GARDENS AND SCULPTURES 2019 PRESS PACK CHÂTEAU DE VULLIERENS Contents 3 History 4 The gardens 12 The sculptors 22 The wines THE ESTATE –LIVING HISTORY THE GARDENS– UNIQUE IN SWITZERLAND In the Bovet de Mestral family for over 700 years Over 30 hectares 24 Café des Jardins A magnificent 18th-century construction 400 varieties of iris, the largest collection in Europe, 100 hectares of grounds plus daylilies, roses, tulips, peonies, rhododendrons… 25 Portes des Iris 8 hectares of vineyard producing 4 wines : Chasselas, 7 themed gardens 26 The Gift Shop Pinot Noir, Gamaret-Garanoir, Gamaret-Garanoir Rosé Themed walks : roses, centennial trees, architecture 27 Visitor information PRESS ENQUIRIES: THE LOCATION– BEYOND COMPARE ART – AS FAR AS THE EYE CAN SEE Sophie Bertorelli : 20 minutes from Lausanne, 40 minutes from Geneva 72 contemporary artworks 021 869 88 80 Views onto Lake Geneva, the Alps and Mont Blanc 19 sculptors [email protected] The largest collection in Switzerland Some unprecedented in Switzerland Nicole Kate Roduit : Monumental sculptures 076 509 34 33 [email protected] LE CHÂTEAU DE VULLIERENS - 2019 PRESS PACK - CHATEAUVULLIERENS.CH 2 HISTORY A family heritage, part of Swiss history THE FIRST CHÂTEAU Through marriage and inheritance, Vullierens ing, must have found the new architecture to Château de Vullierens presents a fine exam- remained with the de Colombiers then went her liking as she stayed, and went on to give ple of the architecture of its period, not a sin- The first record of the parish of Willerens, to the Allinges, until 1665 when it was giv- her husband 11 children.
    [Show full text]
  • Ibrahim El-Salahi a Sudanese Artist in Oxford Ibrahim El-Salahi a Sudanese Artist in Oxford
    ibrahim el-salahi a sudanese artist in oxford Ibrahim El-Salahi A Sudanese Artist in Oxford Lena Fritsch Contents ibrahim el-salahi Director’s Foreword 7 a sudanese artist in oxford Introduction 9 Copyright © Ashmolean Museum, University of Oxford, 2018 From Omdurman to Oxford 13 Lena Fritsch has asserted her moral right to be identified as the author of this work. In Conversation with Ibrahim El-Salahi 49 British Library Cataloguing in Publications Data Ancient Sudan in the Ashmolean Museum 59 Liam McNamara A catalogue record for this book is available from the British Library Ibrahim El-Salahi and the Sudanese Community in Oxford 63 EAN 13: 978-1-910807-23-1 Nazar Eltahir All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including Chronology 64 photocopy, recording or any storage and retrieval system, without Federica Gigante the prior permission in writing of the publisher. Curator’s Acknowledgements 72 Catalogue designed by Stephen Hebron Printed and bound in Belgium by Albe de Coker For further details of Ashmolean titles please visit: www.ashmolean.org/shop Director’s Foreword Celebrated as a pioneer of African and Arab Modernism, Ibrahim El- Salahi (b.1930) is one of the most influential figures in Sudanese art today. His paintings and drawings combine inventive forms of calligraphy, African abstraction and a profound knowledge of European art history in a unique language. Widely exhibited and collected internationally, the artist has lived and worked in Oxford since 1998. Te Ashmolean Museum is proud to present the first solo exhibition of Ibrahim El-Salahi’s works in Oxford.
    [Show full text]
  • Ashmolean Museum from Wikipedia, the Free Encyclopedia
    Ashmolean Museum From Wikipedia, the free encyclopedia The Ashmolean Museum (in full the Ashmolean Museum of Art and Archaeology) on Beaumont Street, Oxford, Ashmolean Museum England, is the world's first university museum.[1] Its first building was erected in 1678–1683 to house the cabinet of curiosities that Elias Ashmole gave to the University of Oxford in 1677. The museum reopened in 2009 after a major redevelopment. In November 2011, new galleries focusing on Egypt and Nubia were also unveiled. In May 2016, the museum opened new galleries of 19th-century art. Contents Main Museum Entrance 1 History 2 Renovation 3 Collections 4 Collections gallery 5 Broadway Museum and Art Gallery 6 Major exhibitions 7 Keepers and Directors Location in Oxford 8 In popular culture 8.1 Comics Established 1683 8.2 Literature Location Beaumont Street, Oxford, England 8.3 Stage productions Coordinates 51.7554°N 1.2600°W 8.4 Television 9 Theft Type University Museum of Art and 10 See also Archaeology 11 References 12 External links Director Dr Alexander Sturgis Website www.ashmolean.org History The collection includes that of Elias Ashmole, which he had collected himself, including objects he had acquired from the gardeners, travelers, and collectors John Tradescant the elder and his son, John Tradescant the younger. The collection included antique coins, books, engravings, geological specimens, and zoological specimens—one of which was the stuffed body of the last dodo ever seen in Europe; but by 1755 the stuffed dodo was so moth-eaten that it was destroyed, except for its head and one claw.
    [Show full text]