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Sculpting Lives S1E1, Barbara Hepworth
Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens. -
City Research Online
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 (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper.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: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If 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.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Economic Value and Impact of Yorkshire Sculpture Park
Economic Value and Impact of Yorkshire Sculpture Park Final Report October 2011 Carlisle Leicester Suite 7 (Second Floor) 1 Hewett Close Carlyle’s Court Great Glen 1 St Mary’s Gate Leicester Carlisle CA3 8RY LE8 9DW t: 01228 402 320 t: 0116 259 2390 m: 07501 725 114 m: 07501 725115 e: [email protected] e: [email protected] www.dcresearch.co.uk Economic Value and Impact of Yorkshire Sculpture Park: Final Report CONTENTS KEY FINDINGS...........................................................................................1 1. INTRODUCTION AND BACKGROUND ....................................................2 2. KEY QUANTITATIVE ECONOMIC IMPACTS .............................................4 Visitor Impacts .................................................................................4 Employment and Procurement Impacts................................................7 3. ADDITIONAL AND CATALYTIC IMPACTS, AND ADDED VALUE...................9 Education and Learning .....................................................................9 Supporting Local Priorities................................................................ 10 Profile Impacts ............................................................................... 12 Summary and Future Impacts .......................................................... 13 APPENDIX 1: CONSULTEES ....................................................................... 15 APPENDIX 2: GLOSSARY OF KEY TERMS ..................................................... 16 Economic Value and Impact of Yorkshire -
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. -
Festival of the Earth Using Less Plastic, and Much More
Wakefield Council has declared a climate emergency and aims to have Net Zero carbon emissions by 2030. We need to act now and act together! As a district we need to commit to recycling more, festival of the earth using less plastic, and much more. JULY - OCTOBER 2021 The Council will support other organisations and residents in reaching this goal as close to this time frame as possible. To join in and find out more visit: bit.ly/climatewfd festival of the earth Festival of the Earth is an exciting collection of events, activities, workshops and more taking place from July to October 2021 across the Wakefield district. Work with us to make positive environmental changes to your daily lives and help tackle climate change - while having loads of fun! You can do this by visiting an exhibition, taking part in an activity, or researching other ways to make a difference. This is also an opportunity for young people across the district to take action to change how they live, support the environment and protect Wakefield for future generations. Join us on the start of this huge journey where everyone can play their part; small changes can lead to big movements. For more information on the festival visit: expwake.co/EarthFestWFD Designed and produced by Wakefield Council, Communications 06/21 Council, Wakefield Designed and produced by 247698 Food for Thought by Mark Ratcliffe unearths the people behind allotment gates across seven sites in Wakefield FESTIVAL OF THE EARTH HIGHLIGHTS district. This online gallery features beautiful photographs Theatre Royal Wakefield Museum’s A World of Good taken in summer 2020 on 35mm film. -
Watch This Space 7 Gallery Educator Case Study
WATCH THIS SPACE 7 GALLERY EDUCATOR CASE STUDY Ami Hallgarth, Formal Learning Coordinator, The Hepworth Wakefield Gallery: The Hepworth Wakefield School: Airedale High School, College for the Arts Project theme: ‘Relationships’, Year 9 project with Art and Dance pupils 1 Summary Ami Hallgarth, Formal Learning Coordinator at The Hepworth Wakefield undertook a placement at Airedale High School, between September and December 2010. Along with establishing an effective partnership between school and gallery, one of the main aims was to explore how a gallery visit could be integrated within the curriculum and what preparatory and developmental activities The Hepworth W akefield would be effective in ensuring teachers and Photo: Jonty Wilde pupils get the most from their visit. Ami worked with an artist and teachers from Airedale High School and Silcoates Senior School, to devise and deliver a short project with forty pupils across three classes of Year 9 GCSE art and dance students, to explore the theme of ‘relationships,’ using the work of Hepworth and Moore as a starting point. 1.1 The Hepworth Wakefield The Hepworth Wakefield is a new art gallery in West Yorkshire, due to open in May 2011. It is the largest purpose-built gallery outside London, has a collection and exhibition programme and has benefitted from a unique gift of around forty working models by Barbara Hepworth, donated by the Hepworth Estate. 1 The gallery is named after Barbara Hepworth who was born and grew up in Wakefield. The collection also contains works by Henry Moore who was born in nearby Castleford; the region in which Airedale High School is located. -
Major New Sculpture Festival Announces Programme Details
PRESS RELEASE YORKSHIRE SCULPTURE INTERNATIONAL: MAJOR NEW SCULPTURE FESTIVAL ANNOUNCES PROGRAMME DETAILS 25 February 2019 Yorkshire Sculpture International (YSI) is pleased to announce programme details for the inaugural edition taking place across Yorkshire this summer from 22 June until 29 September 2019. YSI, the UK’s largest dedicated sculpture festival, will feature major public commissions in outdoor spaces across Leeds and Wakefield and exhibitions at each of the four partner venues – Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield and Yorkshire Sculpture Park. Featuring 15 international artists from 12 different countries, the programme will bring together artists who share an interest in harnessing the cultural histories and physical properties of the materials they use. New commissions and exhibitions will respond to a provocation made by artist Phyllida Barlow in 2018 – that ‘sculpture is the most anthropological of the artforms’. Highlights will include a new commission by Rashid Johnson at the Henry Moore Institute, and rarely-seen sculptures by preeminent Abstract Expressionist sculptor David Smith at Yorkshire Sculpture Park. The Hepworth Wakefield will present a series of large-scale installations including new work by Wolfgang Laib and Tau Lewis’ first exhibition in the UK. Leeds Art Gallery will present ambitious new collection displays, a series of solo presentations and new commissions by artists including Nobuko Tsuchiya. In addition, commissions by Ayşe Erkmen, Huma Bhabha and Tarek Atoui will liven the public realm in Wakefield and Leeds. COMMISSIONS Huma Bhabha (b. 1962, Pakistan), will site her first public realm commission in the UK in central Wakefield. Working almost entirely with figurative sculpture, Bhabha’s approach is unconventional and cross-cultural, making connections between histories, languages and civilisations. -
The Hepworth Wakefield and Its Audience(S)
The Hepworth Wakefield and its Audience(s): The Importance of Scale, Space and Place in Constructing Social Relations in the Art Gallery Sarah Harvey Richardson Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Fine Art, History of Art and Cultural Studies September, 2017 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Sarah Harvey Richardson. Acknowledgements This research would not have been possible without the support and participation of Staff, Volunteers, Creative Practitioners and Trustees at The Hepworth Wakefield. I would also like to thank the Staff and Councillors at Wakefield District Council, the Arts Council, and Muse for taking the time to talk with me, our discussions have formed a vital part of this study. Helen Graham and Abigail Harrison Moore have been incredibly supportive supervisors, and I would like to express my gratitude for their advice and guidance which has been invaluable over the course of this study; also to the many colleagues and friends who have not only provided critical feedback over the past four years, but have also been a vital and steadfast source of inspiration and reassurance. I am extremely grateful for the continued intellectual and emotional generosity of my parents, and for my partner Sean whose unwavering encouragement and support has been critical to the completion of this study. -
Exhibitions Programme 2017 – 19
EXHIBITIONS PROGRAMME 2017 – 19 AUTUMN / WINTER 2017 – 18 ALINA SZAPOCZNIKOW: Human LANDSCAPES 21 OCTOBER 2017 – 28 JANUARY 2018 The first major UK retrospective of Polish artist Alina Szapocznikow (1926 – 1973), one of the most important, yet for many years, over- looked artists of the 20th century. The exhibition will bring together over 100 works spanning Szapocznikow’s career, including a selection of her drawings, which have rarely been publicly displayed. Working through one of the most tumultuous periods in history, Szapocznikow created a body of work that explored her own physicality against a backdrop of social and political upheaval. The exhibition will trace a chronological path through Szapocznikow’s work, demonstrating how she consistently dismantled a classical ideal of Alina Szapocznikow, Bouquet II, 1966. Plaster, plastic foil, sculpture and experimented with materials that charted a new language for coloured polyester resin, metal. Courtesy Muzeum Sztuki, sculpture. Łódź. © ADAGP, Paris 2017. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris. DAUGHTERS OF NECESSITY: SERENA KORDA AND WAKEFIELD’S CERAMICS 2 DECEMBER 2017 – 5 July 2018 Started in the 1930s, Wakefield’s ceramic collection includes some of the great names of modern pottery, including Bernard Leach, Barbara Cass, Lucie Rie and Hans Coper. For this exhibition, London-based British artist Serena Korda will select highlights from Wakefield’s collection to show alongside her own work. Korda combines sound with ceramics exploring their history and variety of uses. On display will be a new presentation of her ceramic sound installation Hold Fast, Stand Sure, I Scream a Revolution, originally commissioned by Glasgow School of Art, Comar and Glasgow International 2016 alongside new work, currently being developed, that will be exhibited for the first time at The Hepworth Wakefield. -
'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. -
The Interwar Years,1930S
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Major New Sculpture Festival Announces Engagement Programme Details
YORKSHIRE SCULPTURE INTERNATIONAL: MAJOR NEW SCULPTURE FESTIVAL ANNOUNCES ENGAGEMENT PROGRAMME DETAILS Yorkshire Sculpture International (YSI), a major new festival of sculpture taking place across Leeds and Wakefield from 22 June until 29 September 2019 has developed an extensive engagement programme working with schools, universities, communities and artists across the region. YSI, the UK’s largest dedicated sculpture festival, features major public commissions in outdoor spaces across Leeds and Wakefield and exhibitions at each of the four partner venues – Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield and Yorkshire Sculpture Park. The engagement programme supports artistic talent development in the region and introduces new audiences to sculpture, giving people of all ages the opportunity to connect with sculpture and inspiring them to think about, talk about and make sculpture. At the core of YSI’s educational initiatives is the concept of ‘material literacy’ and the championing of learning through a hands-on exploration of materials, their properties and processes. The engagement programme is supporting 16 artists from Yorkshire and is reaching over 300 students from primary and secondary schools across the region, over 200 art and design students from local colleges and over 1,500 university students. Highlights of the programme include visionary educational initiatives developed to address the unique problem of teaching sculpture in schools because it requires expensive materials, tools and time, which leaves many teachers feeling too intimidated to teach the subject. YSI is addressing these issues by working closely with teachers and advocating for sculpture education for students from age five through to university. Partnerships are supporting teachers in primary and secondary schools and bringing major sculptures by well-known artists including Barbara Hepworth directly into schools for students to experience.