Exhibition & Museum Attendance Figures 2010
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Work in Progress (1999.03.07)
_________________________________________________________________ WORK IN PROGRESS by Cliff Holden ______________________________ Hazelridge School of Painting Pl. 92 Langas 31193 Sweden www.cliffholden.co.uk copyright © CLIFF HOLDEN 2011 2 for Lisa 3 4 Contents Foreword 7 1 My Need to Paint 9 2 The Borough Group 13 3 The Stockholm Exhibition 28 4 Marstrand Designers 40 5 Serigraphy and Design 47 6 Relating to Clients 57 7 Cultural Exchange 70 8 Bomberg's Legacy 85 9 My Approach to Painting 97 10 Teaching and Practice 109 Joseph's Questions 132 5 6 Foreword “This is the commencement of a recording made by Cliff Holden on December 12, 1992. It is my birthday and I am 73 years old. ” It is now seven years since I made the first of the recordings which have been transcribed and edited to make the text of this book. I was persuaded to make these recordings by my friend, the art historian, Joseph Darracott. We had been friends for over forty years and finally I accepted that the project which he was proposing might be feasible and would be worth attempting. And so, in talking about my life as a painter, I applied myself to the discipline of working from a list of questions which had been prepared by Joseph. During our initial discussions about the book Joseph misunderstood my idea, which was to engage in a live dialogue with the cut and thrust of question and answer. The task of responding to questions which had been typed up in advance became much more difficult to deal with because an exercise such as this lacked the kind of stimulus which a live dialogue would have given to it. -
Hans De Jong in Het Haagse Gemeentemuseum Is De Komende Maanden Keramiek Van De in 2011 Overleden Hans De Jong Te Zien
Een fantasievolle keramist De eigen wereld van Hans de Jong In het Haagse Gemeentemuseum is de komende maanden keramiek van de in 2011 overleden Hans de Jong te zien. Zijn werk weerspiegelt een heel herkenbaar tijdsbeeld, maar doet tegelijk origineel en ludiek aan. TEKST: FREDERIK F. BARENDS eel wandelaars die in het begin van de en de oven. Wim de Vries was aan die afdeling de jaren zestig over het Amsterdamse Rokin opvolger van Bert Nienhuis (1873-1960) en heeft liepen, stonden even stil voor het statige aan het IVKNO (nu de Rietveld Academie) tus- herenhuis met een halsgevel op no. 156. sen 1938 en 1968 een hele generatie keramisten VNaast de stoep, voor het raam van het souterrain, opgeleid, die de laatste jaren langzaamaan plaats waren daar telkens andere, maar vooral ongewo- begint te maken voor de jongere talenten. Na ne stukken keramiek te zien. Het waren meestal deze gedegen opleiding, die hij in 1958 voltooide, fantasievolle figuren die modern aandeden en de had Hans de Jong gedurende een jaar een baan meeste mensen vonden dat wat vreemd, want in bij Intercodam Tegels, maar in 1959 betrok hij in het pand was immers de kunsthandel A. Staal hartje Amsterdam zijn eigen atelier, waar hij zich gevestigd en die handelde uitsluitend in kostbare al spoedig begon toe te leggen op zijn keramische antiquiteiten. Dat Hans de Jong die mini-etalage fantasiewezens. onder de deftige kunsthandel mocht gebruiken was inderdaad wat ongewoon, maar het droeg wel Speelsheid en ideeënrijkdom bij aan zijn bekendheid. Er waren namelijk in die De keuze daarvoor was eigenlijk het gevolg van tijd in Amsterdam nog niet zo heel veel galerieën een soort jeugdliefde. -
Provinsiell Konst. Sign. TA Västgd 25.1. Björsson
Januari 1963 I. KONST. MUSIK. TEATER. FILM 1. Konst Ahlstrand, Torsten: Provinsiell konst. Sign. T.A. VästgD 25.1. Björsson, Nils-Eric: Axel Petersson! Döderhult. Gotl 31.1. Bförsson, Nils-Eric: Verkligheten bakom sagan. BorlT 5.1. Elsa Beskow. Brunius, Teddy: Domkyrkan på finnväv. UNT 9.1. En ny souvenir. Brunius, Teddy: Pilgrimsmärket. UNT 23.1. Cervall, Lennart: Ett syndigt sekel. BorlT 15.1. William Ho g ar t h. Cornell, Elias: Unga arkitekter lär gamla sitta? Expr 4.1. Elmqvist, Sven: Hur gick det med G o y a s »Flicka med muff»? SDS 26.1. Engström, Sixten: Apelsinen och Fikonet. ST 22.1. Ett stadsplaneförslag i Stockholm. Ericson, Uno: Här är konsten att skaffa konst till konstlös badort. GT 21.1. Jugoslavien. Fjellner, John: Vemdalens kyrka 200 år. ÖstersP 30.1 Hallström, Björn: Ny grekisk-engelsk strid om Akropolis konstskatter. ÖstersP 22.1. - VästerbK 26.1. - Med annan tit.: ÖC 25.1. Hammaren, Carl: 80-årige Frans Timén hoppas Örebro skall stipendiebelöna duktiga unga. Ner A 4.1. Hammargren, Henning: J. A. G. A c k e och Uppsala. Uppländskt. UNT 11.1. Henschen-Nyman, Olle: Konstnärernas Gotland. GotlF 18.1. Hähnel, Märta: Ett tvivelaktigt Hans van St e e n w i n k e 1-altare. GHT 2.1. Halmstads kyrka. - Inlägg av Erik Salvén med svar av Märta Hähnel 24.1. Johnsson, Ulf G.: Krematoriefrågan - då och nu. UNT 4.1. Jolin, Christopher: Konstnärens fri- och rättigheter. ÖC 24.1. Källmark, Harry: Predikan i färg och ljus. Dagen 3.1. Det sakrala glasmåleriet Lundquist, Yngve: Arkitektonisk nyorientering. -
Fast Fossils Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman
March 2000 1 2 CERAMICS MONTHLY March 2000 Volume 48 Number 3 “Leaves in Love,” 10 inches in height, handbuilt stoneware with abraded glaze, by Michael Sherrill, Hendersonville, North FEATURES Carolina. 34 Fast Fossils 40 Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman 38 Steven Montgomery The wood-firing kiln at Buck Industrial imagery with rich texture and surface detail Pottery, Gruene, Texas. 40 Michael Sherrill 62 Highly refined organic forms in porcelain 42 Rasa and Juozas Saldaitis by Charles Shilas Lithuanian couple emigrate for arts opportunities 45 The Poetry of Punchong Slip-Decorated Ware by Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi by Meghen Jones 49 No More Gersdey Borateby JejfZamek Why, how and what to do about it 51 Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier 55 NitsaYaffe Israeli artist explores minimalist abstraction in vessel forms “Teapot,” approximately 9 inches in height, white 56 A Female Perspectiveby Alan Naslund earthenware with under Female form portrayed by Amy Kephart glazes and glazes, by Juozas and Rasa Saldaitis, 58 Endurance of Spirit St. Petersburg, Florida. The Work of Joanne Hayakawa by Mark Messenger 62 Buck Pottery 42 17 Years of Turnin’ and Burnin’ by David Hendley 67 Redware: Tradition and Beyond Contemporary and historical work at the Clay Studio “Bottle,” 7 inches in height, wheel-thrown porcelain, saggar 68 California Contemporary Clay fired with ferns and sumac, by The cover:“Echolalia,” San Francisco invitational exhibition Dick Lehman, Goshen, Indiana. 29½ inches in height, press molded and assembled, 115 Conquering Higher Ground 34 by Steven Montgomery, NCECA 2000 Conference Preview New York City; see page 38. -
Museum Attendance Figures 2010
•• 023-029 AttJHESJP_223 23/03/2011 16:12 Page 23 THE ART NEWSPAPER, No. 223, APRIL 2011 Museums 23 Exhibition& museum attendance figures 2010 Japanese old master tops the attendance tree Methodology All figures were calculated In Tokyo and Kyoto, Hasegawa Tohaku pulls in the crowds, as does Abe Lincoln in Washington, DC automatically by our database, which computes the number of days an exhibition was open orecasting exhibition using the following formula: total attendance is an number of days between start unpredictable sci- date and end date, divided by ence. Who would seven, multiplied by the number have thought that the of days per week the institution six-foot-high plaster is open, minus exceptional clo- Fmodel of a statue of Abraham sures. As this formula can pro- Lincoln would attract 9,290 duce fractions (divisions of visitors a day to the National seven), all figures are out by a Gallery of Art, Washington, DC? potential margin of 2%. As the “Designing the Lincoln same margin applies uniformly Memorial” lacked the magic to all averages given, the list rep- words “treasures”, “impression- resents a fair comparison, how- ism” or “gold” in the title and yet ever. All data used was supplied it attracted 2.9m visitors in total, by the institutions concerned. putting it third overall in The Art Many institutions have one ticket Newspaper’s 17th annual survey for the entire museum and can- of attendance figures. The show, not provide individual attendance marking the bicentenary of for temporary exhibitions. Some Lincoln’s birth, was free to visit, institutions offer a number of but then so is strolling down the exhibitions for a single ticket: National Mall to admire Daniel these are shown as one entry. -
Det Universella Språket Efterkrigstidens Abstrakta Konst The
ISBN: 978-91-87968-99-0 GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET NIONDE NUMRET OMSLAGSBILD / COVER IMAGE AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope LENNART RODHE, ROTOR, Namnet är hämtat från ett instrument som den inflytelserike museimannen Benjamin 1954, GÖTEBORGS KONSTMUSEUM, Det universella språket Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren möjlighet att fok- © LENNART RODHE / BILDUPPHOVSRÄTT 2018. usera på konsten i de, enligt upphovsmannen, ofta alltför stora och tätt hängda musei- The Universal Language Det universella språket salarna. Ett finns på Göteborgs konstmuseum, sannolikt inköpt av Axel L Romdahl. LENNART RODHE, ROTOR, Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en glesare 1954, GOTHENBURG MUSEUM OF ART, Efterkrigstidens hängningsideologi vann mark under mellankrigstiden. Ändå kan nog många mu- © LENNART RODHE / BILDUPPHOVSRÄTT 2018. Decennierna efter andra världskriget dominerade abstraktionen seibesökare känna igen sig i det som Gilman beskriver som ett av museiväsendets det internationella konstlivet. Abstrakt var synonymt med modern, abstrakta konst grundproblemen: den museitrötthet som infinner sig redan efter ett par salar. Redan men abstraktionen betraktades också som ett universellt språk som vid sekelskiftet stod det klart att museernas själva essens – att samla och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. renodlat konstens egentliga innehåll, bestående av färg- och form- Sovring blir med tiden lika viktigt som samlande. relationer. Med utgångspunkt i Göteborgs konstmuseums, Konst- Kristoffer Arvidsson hallen Göteborgs, Moderna Museets och Liljevalchs konsthalls ut- Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instrument vill vi ställningshistorik under perioden 1945–1970, undersöker Kristoffer bidra till att rama in, lyfta fram och intensivt studera frågor som vi ser som betydelse- Arvidsson idéer om vad som är nationellt och internationellt, kultur- fulla. -
Ben Johnson Bibliography August 2019
SELECTED PUBLICATIONS 2019 Atkinson, William “Flagrant Exhibitionism: The Royal Academy’s Summer Exhibition,” Cherwell, August 4 https://cherwell.org/2019.08.04/flagrant-exhibitionism-the-royal-academys-summer- exhibition/ 2018 “Insight - Finding Direction,” The British Museum Magazine Issue 92, Winter, p.5 2018 “Superstructures,” Icon, Architecture and Design Culture, April, pp.11, 76- 82 2018 “Reflections on Sacred Space by Ben Johnson,” Islamic Arts Magazine, January 7 http://islamicartsmagazine.com/magazine/view/reflections_on_sacred_space_by_ben_johnson/ 2017 Abdullah, Afkar. “Artists Unveil Authentic World of Contemporary Islamic Art,” Khaleej Times, Sharjah, December 14, p.6 2017 “Ben Johnson Southampton City Art Gallery,” Art Quarterly, Autumn, p.83 2017 "Architectural Reality Seen Through an Airbrush Painting," January 5 http://www.designstack.co/ 2016/01/architectural-reality-seen-through.html#.WG4lEIw8jZo. 2016 Finn, Pat. “More Detail Than the Eye Can See: The Superrealist Architectural Art of Ben Johnson,” Architizer, New York, April 25 http://architizer.com/blog/more-than- the-naked-eye-can- capture/ 2016 Rebane, Katariina. “The Artist Ben Johnson Doesn’t Sign His Work,” Eesti Päevaleht, Estonia, March 21, p.14 2016 “Hardly Distinguishable from a Photo: Hyper Realistic Paintings by Ben Johnson,” i-ref, Berlin, February 3 http://i-ref.de/iref-impuls/kaum-von-einem-foto-zu-unterscheiden-hyperrealistische-gemaelde-von- ben-johnson/ 2016 Spirou, Kiri. “The Superhuman Photorealism of Painter Ben Johnson,” Yatzer, January 11 https:// www.yatzer.com/ben-johnson 2016 Issue No.206 January 11 http://www.issueno206.com/ben-johnson-architectural-paintings/ 2016 “Pintura Arquitectónica,” Architectural Digest Mexico, January 8 http://www.admexico.mx/estilo-de-vida/editors-pick/articulos/pintura-arquitectura-diseno-color-arte- ben-johnson-cuadro/1704 2015 Szwarc, Eva. -
Museum of London Annual Report 2004-05
MUSEUM OF LONDON – ANNUAL REPORT 2004/05 London Inspiring MUSEUM OFLONDON-ANNUALREPORT2004/05 Contents Chairman’s Introduction 02 Directors Review 06 Corporate Mandate 14 Development 20 Commercial Performance 21 People Management 22 Valuing Equality and Diversity 22 Exhibitions 24 Access and Learning 34 Collaborations 38 Information and Communication Technologies 39 Collections 40 Facilities and Asset Management 44 Communications 45 Archaeology 48 Scholarship and Research 51 Publications 53 Finance 56 List of Governors 58 Committee Membership 59 Staff List 60 Harcourt Group Members 63 Donors and Supporters 64 MUSEUM OF LONDON – ANNUAL REPORT 2004/05 01 CHAIRMAN’S INTRODUCTION CHAIRMAN’S INTRODUCTION On behalf of the Board of Governors I am pleased to report that the Museum of London has had another excellent year. On behalf of the Board of Governors I am pleased to report that the Museum of London has had another excellent year. My fellow Governors and I pay tribute to the leadership and support shown by Mr Rupert Hambro, Chairman of the Board of Governors from 1998 to 2005. There were many significant achievements during this period, in particular the refurbishment of galleries at London Wall, the first stage of the major redevelopment of the London Wall site, the opening of the Museum in Docklands and the establishment and opening of the London Archaeological Archive and Research Centre at Mortimer Wheeler House.The first stage of the London Wall site redevelopment included a new entrance, foyer and the Linbury gallery, substantially funded by the Linbury Trust.The Museum is grateful to Lord Sainsbury for his continuing support.There were also some spectacular acquisitions such as the Henry Nelson O’Neil’s paintings purchased with the help of the Heritage Lottery Fund, the Introduction National Art Collections Fund and the V&A Purchase Fund. -
4 11 22 32 34 41 50 59 64 65 66 Land Use. Notes On
4 LAND USE. NOTES ON SCULPTURAL GESTURES AND PRACTICE MARIA VIRGINIA JAUA EREMUAK 11 FLOORSPACE PEDRO DE LLANO 22 A CONVERSATION BETWEEN ANA LAURA ALÁEZ AND MAITE GARBAYO MAITE GARBAYO 32 AMAIA MOLINET 34 AFTER '68. ART AND ARTISTIC PRACTICES IN THE BASQUE COUNTRY, 1968–2018 MIRIAM ALZURI, BEGOÑA GONZÁLEZ, MIGUEL ZUGAZA 41 TIME AND URGENCY, LAUGHTER AND SPACE, POTATOES AND CHIPS. A CONVERSATION BETWEEN JOSÉ RAMÓN AMONDARAIN AND NADIA BARKATE NADIA BARKATE 50 ALKOLEA BEACH SANDRA CUESTA, LARRAITZ TORRES, AMAIA URRA 59 WHAT WAS, WHAT IS #5 OIER IRURETAGOIENA 64 HARRIAK 65 YEAR'S ACTIVITIES 66 JONE LOIZAGA eremuak #5 editors Iñaki Imaz, Pello Irazu, Maider López, Leire Vergara coordinator Natalia Barbería texts by María Virginia Jaua / Pedro de Llano / Maite Garbayo, Ana Laura Aláez / Miriam Alzuri, Begoña González, Miguel Zugaza / Nadia Barkate, José Ramón Amondarain / Sandra Cuesta, Larraitz Torres, Amaia Urra / Oier Iruretagoiena copy editor Fernando Quincoces images central pages: Amaia Molinet back cover: Jone Loizaga HARRIAK images [1] [2] [3] David Hornback, [4] [5] [6] Dani Mera, [7] [8] [9] Maia Villot de Diego images in year's activities [1] Lydia Lomas, [2] [3] [4] [5] [6] Dani Mera, [7] Leire Vergara, [8] Miriam Petralanda, [9] [10] Damaris Pan, [11] [12] Leo Burge, [13] Alberto Peral graphic design Maite Zabaleta Nerecán English translations Toni Crabb November 2018 www.eremuak.net © of the texts, their authors © of the images, the artists © of the photographs, their authors All rights reserved ISSN: 2444-6319 legal deposit: SS-1149-2015 Open programme for the production of context in contemporary art. Department of Culture and Language Policy of the Basque Government. -
Review of the Year 2010–2011
TH E April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March Contents Introduction 5 Director’s Foreword 6 Acquisition 8 Loans 10 Conservation 16 Framing 20 Exhibitions and Display 26 Education 42 Scientifi c Research 46 Research and Publications 50 Private Support of the Gallery 54 Financial Information 58 National Gallery Company Ltd 60 Trustees and Committees of the National Gallery Board 62 Figurative Architectural Decoration inside and outside the National Gallery 63 For a full list of loans, staff publications and external commitments between April 2010 and March 2011, see www.nationalgallery.org.uk/about-us/organisation/ annual-review – The Trustees and Director of the National Gallery da Vinci), increased corporate membership and have spent much of the year just past in making sponsorship, income from donations or otherwise. plans to enable us to deal with the implications of The Government has made it clear that it cuts to our income Grant in Aid, the government wishes to encourage cultural institutions such as funding on which we, to a large extent, depend the National Gallery to place greater reliance on to provide our services to the public. private philanthropic support, and has this year At an early stage in the fi nancial year our income taken some fi rst steps to encourage such support, Grant in Aid was cut by %; and in the autumn we through relatively modest fi scal changes and other were told that we would, in the period to March initiatives. We hope that further incentives to , be faced with further cumulative cuts to our giving will follow, and we continue to ask for the income amounting to % in real terms. -
REALISMO REV 5.Pdf
Centro Cultural Banco do Brasil Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina SP_ 07 nov_18 14 jan_19 DF_ 04 fev 28 abr_19 RJ_ 14 mai 29 jul_19 50 Years of Realism _ From Photo-Realism to Virtual Reality Curadoria _ Tereza de Arruda Curator O Banco do Brasil apresenta a exposição 50 anos de Banco do Brasil presents the exhibition 50 Years of realismo – Do fotorrealismo à realidade virtual, que traça Realism – From Photo-Realism to Virtual Reality, offering um panorama da representação da realidade na arte visitors a panorama of reality as represented in contempo- contemporânea, nesse período. rary art during those five decades. Com obras desde a primeira geração de artistas With a selection that begins from early works of these dessas tendências, a mostra traz pintores do foto trends, the show features photo-realist and hyperrealist e hiper-realismo, pioneiros em proporcionar visibilidade painters who first made this art movement visible inter- para esse movimento artístico em um contexto inter- nationally, through to its expansion for experimentation in nacional, até sua expansão para a experimentação na virtual reality. realidade virtual. The artworks rendered in various supports, including Em suportes diversos, inclusive multimídia e tridimen- multimedia and tridimensional pieces, portray everyday sionais, representam a vida e objetos do cotidiano que life and its objects that in themselves pose a reflection— oferecem, em si, uma reflexão, não como um espelho da not as mirrors of reality, but as images of an individual’s realidade, mas da percepção do indivíduo em relação a ela. perception of it. -
20. Yüzyilda Sanatin Üretim, Tüketim Ve Eylem Alani Olarak Sokak
TC YILDIZ TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SANAT VE TASARIM ANA SANAT DALI SANAT VE TASARIM YÜKSEK LİSANS PROGRAMI YÜKSEK LİSANS TEZİ 20. YÜZYILDA SANATIN ÜRETİM, TÜKETİM VE EYLEM ALANI OLARAK SOKAK EREN GÜLBEY 09715004 TEZ DANIŞMANI PROF. RIFAT ŞAHİNER İSTANBUL 2012 ÖZ 20. YÜZYILDA SANATIN ÜRETİM, TÜKETİM VE EYLEM ALANI OLARAK SOKAK Eren Gülbey Eylül, 2012 Burjuva Devrimi’nin, Aydınlanma’nın ve Sanayileşme’nin tüm getiri ve götürüleri ile girilen 20. yüzyılda, kapitalist endüstrinin hızlı gelişimiyle ortaya çıkan tüm toplumsal, ekonomik, kültürel ve siyasi dönüşümler; hem sokağı hem sanatı hem de sokak ve sanat arasındaki ilişkiyi doğrudan etkilemiştir. Sokak, bu anlamda salt fiziksel bir mekan olmanın ötesinde toplumsal, kentsel ve gündelik hayat içindeki her türlü gelişmenin ve dinamiğin merkezinde olmuştur. Sanat ise tüm bu dönüşümlerin bir aracı ya da bir aktörü olarak, başka bir deyişle tüm bu gelişmelerin bizzat öznesi ya da nesnesi olarak, öyle ya da böyle yüzyıl boyunca etkin rol almıştır. Sanat alanı için 20. yüzyıl, geçmiş on dokuz yüzyılı ile her anlamda hesaplaştığı bir dönem olmuştur. Bu sorgulamaya sebep olan ise bahsi geçen dönüşümlerdir: Yani eski sistemlerin yerine gelen yeni sistemler, yeni üretim teknik ve biçimleri, yeni toplumsal ve kültürel yapılardır. Sanatçı, bu bağlamda gerek tüm bu yenilikleri yerinde keşfetmek üzere, gerek tüm bu yeni sistemle iktidar ve özgürlük mücadelesine girmek üzere, gerekse de tüm bu yeni sistem içinde yaşamını sürdürebilmek ve kendine bir rol, bir alan ya da bir kazanç sağlayabilmek üzere sokakta yer alabilmiştir. Bu çalışma, 20. yüzyıl boyunca sanatsal alanın ilgili tüm aktör ve araçlarının sokakta yer alma nedenlerini, süreçlerini ve sonuçlarını irdeleyerek ilgili kavram, yaklaşım, akım ve uygulamaları biraraya getirmeye çalışmaktadır.