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Frommer's Scotland 8Th Edition
Scotland 8th Edition by Darwin Porter & Danforth Prince Here’s what the critics say about Frommer’s: “Amazingly easy to use. Very portable, very complete.” —Booklist “Detailed, accurate, and easy-to-read information for all price ranges.” —Glamour Magazine “Hotel information is close to encyclopedic.” —Des Moines Sunday Register “Frommer’s Guides have a way of giving you a real feel for a place.” —Knight Ridder Newspapers About the Authors Darwin Porter has covered Scotland since the beginning of his travel-writing career as author of Frommer’s England & Scotland. Since 1982, he has been joined in his efforts by Danforth Prince, formerly of the Paris Bureau of the New York Times. Together, they’ve written numerous best-selling Frommer’s guides—notably to England, France, and Italy. Published by: Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5744 Copyright © 2004 Wiley Publishing, Inc., Hoboken, New Jersey. All rights reserved. No part of this publication may be reproduced, stored in a retrieval sys- tem or transmitted in any form or by any means, electronic, mechanical, photo- copying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978/750-8400, fax 978/646-8600. Requests to the Publisher for per- mission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317/572-3447, fax 317/572-4447, E-Mail: [email protected]. -
KARLA BLACK Born 1972 in Alexandria, Scotland Lives And
KARLA BLACK Born 1972 in Alexandria, Scotland Lives and works in Glasgow Education 2002-2004 Master of Fine Art, Glasgow School of Art 1999-2000 Master of Philosophy (Art in Organisational Contexts), Glasgow School of Art 1995-1999 BA (Hons) Fine Art, Sculpture, Glasgow School of Art Solo Exhibitions 2021 Karla Black: Sculptures 2000 - 2020, FruitMarket Gallery, Edinburgh 2020 Karla Black: 20 Years, Des Moines Art Centre, Des Moines 2019 Schirn Kunsthalle, Frankfurt Galerie Gisela Capitain, Cologne 2018 The Power Plant, Toronto Karla Black / Luke Fowler, Capitain Petzel, Berlin 2017 Stuart Shave / Modern Art, London Festival d’AutoMne, Musée des Archives Nationales and École des Beaux-Arts, Paris MuseuM Dhondt-Dhaenens, Deurle 2016 Galleria Raffaella Cortese, Milan A New Order (with Kishio Suga), Scottish National Gallery of Modern Art, National Galleries of Scotland, Edinburgh David Zwirner, New York Galerie Gisela Capitain, Cologne 2015 Irish MuseuM of Modern Art, Dublin 2014 Stuart Shave / Modern Art, London Galleria Raffaella Cortese, Milan David Zwirner, New York 2013 Kestner Gesellschaft, Hannover Institute of ConteMporary Art, University of Pennsylvania, Philadelphia Galerie Gisela Capitain, Cologne GeMeenteMuseuM, The Hague 2012 Concentrations 55, Dallas MuseuM of Art, Dallas Schinkel Pavillon, Berlin Gallery of Modern Art, Glasgow Stuart Shave / Modern Art, London 2011 Scotland + Venice 2011 (curated by The FruitMarket Gallery), Palazzo Pisani, 54th Venice Biennale, Venice 2010 Capitain Petzel, Berlin WittMann Collection, Ingolstadt -
Curators' Colloquium on Knitted Textiles
Fleece to Fashion Economies and Cultures of Knitting in Modern Scotland Curators’ Colloquium on Knitted Textiles Friday 29 January 2021 1.30 - 4.00 pm on Zoom PROGRAMME 1.30 Welcome and Introduction (Lynn Abrams, Carol Christiansen) 1.40-2.30 Acquisition, Identity and Interpretation Chair: Roslyn Chapman The Challenges of a ‘Living’ Knitwear Collection (Carol Christiansen, Shetland Museum and Archives) Scottish and European Knitted Textiles at National Museums Scotland: collecting, interpretation and display' (Helen Wyld, National Museums of Scotland) 2.30-3.00 Care and Conservation Chair: Sally Tuckett The Care and conservation of Knit Collections (Frances Lennard, University of Glasgow) 3.00-3.05 Leg stretch 3.05-3.50 Interpretation and Display – Conventional and Digital Chair: Lin Gardner Colour Revolution: Bernat Klein and the post-war market for handknitting (Lisa Mason, National Museum of Scotland) Glorious Ganseys: a glance at the Scottish Fisheries Museum’s collection of fishermen’s jumpers with particular focus “Knitting the Herring” and the creation of a National Database (Jen Gordon and Federica Papiccio, Scottish Fisheries Museum) 3.50-4.00 Summing Up and Next Steps Chair: Marina Moskowitz Speaker Biographies Carol Christiansen is Curator and Community Museums Officer at Shetland Museum and Archives. As curator, her main responsibility is the Museum’s nationally recognised textiles collection, which has a large knitted textile component. She holds a PhD from the University of Manchester in Archaeology with a specialisation in Textiles and has worked and published in the specialism with colleagues in the UK and Nordic countries. She is the author of Taatit Rugs: the pile bedcovers of Shetland (2015) and numerous articles on Shetland’s textile heritage. -
Download Press Release
LUCY SKAER CAROL RHODES HANNELINE VISNES HEAVY WEATHER May 18 – July 13, 2019 Opening Saturday May 18th Frans Halsstraat 26 From 6pm until 8pm GRIMM is proud to present Heavy Weather, an exhibition showers’ and ‘Violent Thunder’. These works function as an organised by Lucy Skaer (UK, 1975) with selected works by exploration of the role of feeling, emotion and subjectivity in Carol Rhodes (UK, 1959-2018) and Hanneline Visnes (NO, how we experience history, objects, images, or situations, 1972). The works in the show are united by the theme of despite degrees of abstraction or transmutation. temporality and landscape, meditating on nature, how it is altered and effected by human vision and action. This is In the paintings of Hanneline Visnes, which surround Skaer’s Skaer’s second exhibition with the gallery in Amsterdam La Chasse, stylised motifs of animals and plants are used to and follows her recent collaborative exhibition The Green comment on the representation and control of nature. Visnes Man held at the Talbot Rice Gallery in Edinburgh (UK). merges disparate patterns, motifs, and subjects into her meticulously crafted paintings. She explores and harnesses Lucy Skaer’s main body of work in the exhibition is titled the power of colour, utilising complementary hues that bounce La Chasse, after Le Livre du Chasse, a hunting manual by and fight off the surface, causing her still lifes to dance with Gaston Phébus from the fourteenth century. Skaer was agitated energy. By treating her ‘subject’ and background compelled by illustrations in this medieval manuscript with the same process, the traditional focal point of the work for their representation of time and form. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
Graeme Todd the View from Now Here
GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect. -
Edinburgh Galleries Artist Training Programme
Copyright © Art, Design & Museology Department, 2005 Published by: Art, Design & Museology Department School of Arts & Humanities Institute of Education University of London 20 Bedford Way London WC1H 0AL UK All rights reserved. Except for the quotation of short passages for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 0-9546113-1-4 This project was generously supported by: The National Lottery, The City of Edinburgh Council and National Galleries of Scotland 1 The Edinburgh Galleries Artist Training Programme in collaboration with the Art, Design & Museology department, School of Arts & Humanities, Institute of Education, University of London A pilot programme supported by The National Lottery, The City of Edinburgh Council and National Galleries of Scotland Course Directors: Lesley Burgess, Institute of Education, University of London (IoE) Maureen Finn, National Galleries of Scotland Course Co-ordinator: Kirsty Lorenz Course Venues: Gallery of Modern Art, Edinburgh National Portrait Gallery, Edinburgh Participating Organisations: The Collective Gallery Edinburgh Printmakers Workshop Edinburgh Sculpture Workshop The Fruitmarket Gallery Stills Gallery Talbot Rice Gallery Course Leader: Lesley Burgess, IoE Session contributors: Nicholas Addison, IoE Lesley Burgess, IoE Anne Campbell, SAC Barbara Clayton Sucheta Dutt, SAC Fiona Marr Sue Pirnie, SAC Roy Prentice, IoE Helen Simons Rebecca Sinker, DARE and inIVA Sally Tallant, Serpentine Gallery, London Leanne Turvey, Chisenhale Gallery, London Research Report by: Lesley Burgess and Emily Pringle Photographs by: Lesley Burgess 2 EDINBURGH GALLERIES ARTIST TRAINING PROGRAMME RESEARCH EVALUATION REPORT OCTOBER 2003 1. -
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. -
The Glasgow Academy WW1 Roll of Honour
The Glasgow Academy WW1 Roll of Honour From the onset of the First World War in 1914 until 1918, the Glasgow Academy suffered a great many losses during the conflict. In fact, it is believed there was a higher number of losses incurred when compared to other independent schools of the time. The following is a list of the former pupils who were casualties and as far as we have been able to, includes information and photographs to tell the stories of these men. In some case, we have little or no information about some of these individuals, so please get in touch if you have anything which could help us fill in the gaps and help us tell their stories. Email: [email protected] 1 Lt William M Alexander Biography Remembered on the Roll of Honour in Dundee , William lived in Broughty Ferry before the War. Highland Light 8th March 1892-12th Son of John and His brother, Ronald served as a Lieutenant Infantry Oct 1918 Mayflower with the Royal Field Artillery during the Alexander, of 2, Age 26 Great War. Smith St., Hillhead, Glasgow, West 2 Private George W Allan* Biography According to his father, Reverend Charles Allan, his son was 'mentioned in officers' letters for bravery. Going to the help of wounded comrades and was said Highland Light 31st August 1894- 17th Son of the Rev. by his own comrades to have earned the Infantry April 1915 Charles Allan, M.A., Victoria Cross "half a dozen times over"'. and Margaret Allan, He was awarded the 1914 Star Age :21 of Duneira, Greenock posthumously 3 Lieutenant Ramsay Allan Biography Ramsay was an only son. -
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. -
Scotland Street Public School
M233 Scotland Street Public School Introduction This three-storey school was built by the School Board of Glasgow to serve a densely populated part of Tradeston, just S. of the River Clyde. Some features show the influence of historic Scottish architecture, but the design is remarkable for its novel reinterpretation of tradition, especially in the glazed towers that light the stairs. The boundary wall with its gates and railings and the janitor's house at the N.W. corner of the site were part of the original scheme. Closed as a school due to demolition of the surrounding housing, the building reopened as a museum of education in November 1990. Authorship: Mackintosh is named as architect in official correspondence from the School Board, and in other contemporary sources. Scotland Street School was one of his most important commissions. Cost from job book: £18,597 2s 6½d Cost from other sources: The final measurements of £19,171 8s 1d plus other expenses of £1370 0s 6d gave a total of £20,541 12s 6d. 1 Status: Standing building Current name: Scotland Street School Museum Current use: Museum of Education (2014) Listing category: A Historic Scotland/HB Number: 33534 RCAHMS Site Number: NS56SE 328.01 Grid reference: NS 57752 64142 Chronology 1903 27 April: Purchase of ground for new school in Tradeston. 1 22 June: Mackintosh appointed architect (but official letter of appointment not written until 21 August). 2 2 November: First drawings submitted to The School Board of Glasgow. Modifications requested. 3 1904 January: First set of drawings for school and janitor's house made for submission to Glasgow Dean of Guild Court. -
William Crosbie Centenary Exhibition
WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh.