Issam Kourbaj 'Imploded, Burnt, Turned to Ash' Performance
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jiuw Ery T News Release Fourth Street at Constitution Avenue Nw Washington Dc 20565
JIUW ERY T NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Deborah Ziska (202) 842-6353 FOR IMMEDIATE RELEASE ART FROM BRITAIN'S FITZWILLIAM MUSEUM AT NATIONAL GALLERY OF ART IN 1989 WASHINGTON, DC, November 18, 1988 - A selection from the finest works in Britain's Fitzwilliam Museum in Cambridge will be shown at the National Gallery of Art in the exhibition, Treasures from the Fitzwilliam Museum: The Increase of Learning and Other Great Objects. More than 160 objects will be on view, including paintings by Titian, Guercino, Rubens, Hals, Van Dyck, Hogarth, Delacroix, Renoir, and Degas, and drawings by Rembrandt, Annibale Carracci, Tiepolo, William Blake, and Puvis de Chavannes. A selection of illuminated manuscripts, ceramics, coins and medals, bronzes, and decorative arts will also be shown. The exhibition, organized by the Fitzwilliam and the National Gallery, will be displayed in the National Gallery's East Building, March 19 through June 18, 1989. The exhibition and its national tour are made possible by Philip Morris Companies Inc. "The Fitzwilliam Museum is perhaps Britain's pre-eminent small museum," said J. Carter Brown, director of the National Gallery of Art. "Like the British Museum, the Fitzwilliam addresses the history of culture in terms of the visual forms it has assumed, but it does so from the highly selective point of view of the collector-connoisseur. Works of art have been added to the museum's collection not only for the art historical information they reveal but for their beauty, excellent quality and rarity." (more) page two .. -
A Nursery in Residence at the Fitzwilliam
A NURSERY IN RESIDENCE The Fitzwilliam Museum is the art and antiquities museum of the University of Cambridge. Cambridge University Botanic Garden (CUBG) holds a collection of over 8,000 plant species for teaching and research. Since its foundation, the Garden has also provided a beautiful place for everybody to enjoy and benefit from. Ace Nursery School is in central Cambridge caring for children from 2 1/2 years onwards. It was founded in 1966, and is run as a parent co-operative. The children invited to participate in the study were between their 3rd and 4th birthdays, and were attending the nursery either four or five days per week. Early Years toolkit Years Early SUMMARY In October 2017, nine children from Ace Nursery School spent five consecutive mornings in residence at The Fitzwilliam Museum and Cambridge University Botanic Garden. The residency formed the basis of a multi-disciplinary, practitioner-led research project by a team of museum, garden and nursery practitioners. Groups from this nursery had visited the museum previously for one off sessions, but we hoped that the residency would give us the opportunity to take time to observe and reflect on the encounters between young children, spaces and objects in the collections and to develop a better understanding of what the museum and garden can offer to young learners. Working in close collaboration was a key aspect of our research methodology and pedagogical practice. We are now planning to share and develop good practice within each of our settings and beyond. A typical day during the residency began in the education spaces of the museum or garden, with time to greet each other and an introduction using objects or children’s artworks from the previous day to connect back to previous activities, and to set the scene for the day ahead. -
Download Our Exhibition Catalogue
CONTENTS Published to accompany the exhibition at Foreword 04 Two Temple Place, London Dodo, by Gillian Clarke 06 31st january – 27th april 2014 Exhibition curated by Nicholas Thomas Discoveries: Art, Science & Exploration, by Nicholas Thomas 08 and Martin Caiger-Smith, with Lydia Hamlett Published in 2014 by Two Temple Place Kettle’s Yard: 2 Temple Place, Art and Life 18 London wc2r 3bd Museum of Archaeology and Anthropology: Copyright © Two Temple Place Encountering Objects, Encountering People 24 A catalogue record for this publication Museum of Classical Archaeology: is available from the British Library Physical Copies, Metaphysical Discoveries 30 isbn 978-0-9570628-3-2 Museum of Zoology: Designed and produced by NA Creative Discovering Diversity 36 www.na-creative.co.uk The Sedgwick Museum of Earth Sciences: Cover Image: Detail of System According to the Holy Scriptures, Muggletonian print, Discovering the Earth 52 plate 7. Drawn by Isaac Frost. Printed in oil colours by George Baxter Engraved by Clubb & Son. Whipple Museum of the History of Science, The Fitzwilliam Museum: University of Cambridge. A Remarkable Repository 58 Inside Front/Back Cover: Detail of Kitagawa Utamaro (1753-1806), Komei bijin mitate The Polar Museum: Choshingura junimai tsuzuki (The Choshingura drama Exploration into Science 64 parodied by famous beauties: A set of twelve prints). The Fitzwilliam Museum, University of Cambridge. Whipple Museum of the History of Science: Thinking about Discoveries 70 Object List 78 Two Temple Place 84 Acknowledgements 86 Cambridge Museums Map 87 FOREWORD Over eight centuries, the University of Cambridge has been a which were vital to the formation of modern understandings powerhouse of learning, invention, exploration and discovery of nature and natural history. -
The Eagle 2013 the EAGLE
VOLUME 95 FOR MEMBERS OF ST JOHN’S COLLEGE The Eagle 2013 THE EAGLE Published in the United Kingdom in 2013 by St John’s College, Cambridge St John’s College Cambridge CB2 1TP johnian.joh.cam.ac.uk Telephone: 01223 338700 Fax: 01223 338727 Email: [email protected] Registered charity number 1137428 First published in the United Kingdom in 1858 by St John’s College, Cambridge Designed by Cameron Design (01284 725292, www.designcam.co.uk) Printed by Fisherprint (01733 341444, www.fisherprint.co.uk) Front cover: Divinity School by Ben Lister (www.benlister.com) The Eagle is published annually by St John’s College, Cambridge, and is sent free of charge to members of St John’s College and other interested parties. Page 2 www.joh.cam.ac.uk CONTENTS & MESSAGES CONTENTS & MESSAGES THE EAGLE Contents CONTENTS & MESSAGES Photography: John Kingsnorth Page 4 johnian.joh.cam.ac.uk Contents & messages THE EAGLE CONTENTS CONTENTS & MESSAGES Editorial..................................................................................................... 9 Message from the Master .......................................................................... 10 Articles Maggie Hartley: The best nursing job in the world ................................ 17 Esther-Miriam Wagner: Research at St John’s: A shared passion for learning......................................................................................... 20 Peter Leng: Living history .................................................................... 26 Frank Salmon: The conversion of Divinity -
Annual Report 2005–2006 Cambridge University Library Annual Report 2005–2006 Highlights
cambridge university library annual report 2005–2006 cambridge university library annual report 2005–2006 highlights 2 The year was a highly successful one, with a number of major initiatives that allowed the Library to improve the range of service it is able to offer its users in all disciplines. For scientists, the development of the journals co- ordination scheme started to bear fruit. Following an extensive survey of users’ needs, the scheme’s Steering Committee took out subscriptions to a number of new, urgently needed journals, funded title page from savings made by the cancellation of titles for Reuben Ramble’s which there was no demand. Participants in the map of Cambridgeshire, scheme now include the Schools of Biological produced for Sciences and Clinical Medicine, as well as a majority children in 1845. of departments in the School of Physical Sciences. From the Map Department’s Discussion took place during the year with all the collections. Schools, with a view to extending the scheme to become a University-wide one. right Grammar in rhyme The Library bought the digitised back-sets in the (London 1854). One Elsevier ScienceDirect database and this, together of the books being with the Library’s subscription to current Science re-catalogued online as part of the Direct titles, means that the scientist now has online Tower Project. access at his or her desktop to the full content, from the first issue to the most recent, of more than 2,000 journals – some seven million articles – in a range of The DSpace@Cambridge Project, which has subjects. -
This Anthology Is a Collection of Winning Entries and Runners-Up In
This anthology is a collection of winning entries and runners-up in the inaugural writing competition for children and young adults organised by the Friends of Rock Road Library in late 2016. The theme of the competition was ‘Location as Inspiration’, inviting entries in the form of short stories, poems and plays about a place in Cambridge or the city itself. The competition was divided into two categories: 7 – 11 year olds and 12 – 16 year olds. The judges were local authors Adéle Geras and Julian Sedgwick. Contents 7 – 11 Year Old Category ................................................................... 8 12 – 16 Year Old Category ................................................................. 9 The Day Trip ....................................................................................... 10 The Book with the Hidden Code ......................................................... 13 The Fitzwilliam Museum .................................................................... 16 Visit Fitzwilliam .................................................................................. 17 Maniac ................................................................................................. 19 Bird’s Eye View .................................................................................. 21 The Round Church .............................................................................. 24 Cat on the Hat! .................................................................................... 25 The Corpus Clock ............................................................................... -
Barry the One-Armed Pianist 6’49 Over Centuries
2 OBJECTS AT AN EXHIBITION INTRODUCTION TO OBJECTS AT AN EXHIBITION Every musical instrument is, in a sense, ‘Objects at an Exhibition’ may be heard Aurora Orchestra • Nicholas Collon conductor a machine. But, in science museums as a commentary on our technological they are machines of unusual interest civilisation and culture. It was important and potency for visitors, because music for the project that each of the selected 1 Thea Musgrave Power Play 6’35 is a key site for the interaction between composers would have the opportunity 2 Christopher Mayo Supermarine 12’08 science, technology and culture. to pick-out from the Museum’s hundreds 3 Claudia Molitor 2TwoLO 11’42 Music, if you like, provides a perfect of thousands of objects one that held a exemplifi cation of how technology and particular resonance for them. Most of 4 David Sawer Coachman Chronos 9’14 the arts have developed hand in hand these commissions started with an open- 5 Gerald Barry The One-Armed Pianist 6’49 over centuries. There are whole varieties ended bespoke tour for the composers 6 Barry Guy “Mr Babbage is Coming to Dinner!” 9’10 of music that could not exist without of the Museum’s spaces, when it was certain technological developments, an possible in a spatial dialogue to unite Total 55’43 observation that not only applies in the each composer with the object that more obvious case of genres dependent would become the particular subject of on modern electronics, but also with their composition. Aurora Orchestra older machines such as the tenor This project has been, from the start, an saxophone or the overstrung piano. -
London Sinfonietta Nicholas Kok, Direttore Jane Manning, Soprano Kelvin Thomas, Baritono
domenica 10 settembre 2006 ore 21 Conservatorio Giuseppe Verdi PETER MAXWELL DAVIES London Sinfonietta Nicholas Kok, direttore Jane Manning, soprano Kelvin Thomas, baritono Peter Maxwell Davies (1934) Miss Donnithorne’s Maggot per soprano e ensemble Eight Songs for a Mad King per voce maschile e ensemble Nicholas Kok, direttore Jane Manning, soprano Kelvin Thomas, baritono London Sinfonietta Sebastian Bell flauto, ottavino, flauto contralto Timothy Lines clarinetto Rebecca Hirsch violino Timothy Gill violoncello Clive Williamson pianoforte, giocattoli, clavicembalo Richard Benjafield percussioni Sarah Holmes concert manager Patricia Mayes personnel manager Miss Donnithorne’s Maggot 1. Prelude Your Excellency, Your Honour, Your Worship, ladies and gentlemen, people of Sydney, most of all the deserving poor, Miss Donnithorne begs the favour of your presence at her nuptial feast and ball. May it choke you one and all. 2. Miss Donnithorne’s Maggot Green mooned the white lady of silvered Sydney town – O, stately as a candle-end, all in her winding-gown; apple-pale and like a spider’s egg her dainty muslin face and her moonstones new polished with a moon-clout of lace. She wept like a xylophone, she laughed like a tree. “Alack and alas,” she said, “who would not change with me? To have to herself alone such a fine tower of cake where the seaweed does intertwine with the precious coral snake”. She danced like a candle. “Ah, who would not be me? To keep her bed all day, embowered in a tree that springs from the cellars, all flushed with wedding wine and drops its white dew on me, at dawn when I dine”. -
ARCHIVED PRESS RELEASE from the FRICK COLLECTION
ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 THE FRICK COLLECTION BRINGS TO THE U.S. FOR THE FIRST TIME A SELECTION OF REMARKABLE BRONZES FROM THE FITZWILLIAM MUSEUM, CAMBRIDGE February 15, 2005, through April 24, 2005 The Fitzwilliam Museum at Cambridge University possesses one of the finest collections of Renaissance and Baroque bronzes in Great Britain, and this February a group of thirty-six of them will be seen for the first time together in America in a presentation at New York’s Frick Collection. Dating from the turn of the sixteenth century to the early years of the eighteenth century—the period that saw the flowering of the bronze statuette as an independent art form—the sculptures are remarkable for their exquisite beauty and refinement. Many of the works in the exhibition are from the collection bequeathed to the Fitzwilliam Museum by the sister of Lieutenant Colonel Mildmay Thomas Boscawen, an explorer, naturalist, and botanist, who owned large plantations in East Africa. Included are masterpieces by such renowned Italian Renaissance and Baroque sculptors as Vincenzo Massimiliano Soldani Benzi (1656-1740) Grandi and Alessandro Algardi, as well as outstanding bronzes by Leda and the Swan Italian, Florence, c. 1717, finished by June 25, 1717 Bronze, h. 34.5 cm; l. 30.5 cm; w.15 cm Netherlandish, German, and French masters, which are rare among the Frick’s Fitzwilliam Museum, Cambridge predominantly Italian holdings. Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, seen in conjunction with the Frick’s permanent collection, will provide visitors with a rare opportunity to explore the depth and range of European bronze sculpture. -
Lent Termcard 2017
CLARE COLLEGE, CAMBRIDGE CHAPEL SERVICES LENT TERM 2017 SERMONS AND ADDRESSES 22 January The Rt Revd and Rt Hon Professor The Lord Williams of Oystermouth FBA Master of Magdalene College; Dean of Clare, 1984-86 29 January The Dean 5 February Fr Timothy Radcliffe OP Blackfriars, Oxford 12 February The Rt Revd Jana Jeruma-Grinberga Bishop of the Lutheran Church in Great Britain, 2009–14 19 February The Very Revd John Hall Dean of Westminster 26 February Canon David Porter Chief of Staff to the Archbishop of Canterbury 5 March Professor Eamon Duffy FBA Emeritus Professor of the History of Christianity 12 March The Dean COVER PHOTOGRAPH This Term’s cover photograph is a woodcut by Hans Brosamer of The Creation of Eve from the Luther Bible of 1550. REFORMATION 500 In October 1517, Martin Luther wrote his Ninety-Five Theses, and by tradition nailed them to the door of Wittenberg Castle Church in a provocative action which has come to symbolise the beginning of the European Reformation. On Sunday evenings this term, we will mark the 500th anniversary of the Reformation with a series of cantatas by J. S. Bach performed liturgically. These acts of worship will celebrate and explore the exceptional theological, cultural and spiritual legacies of the European Reformation and Counter Reformation which changed the face of the world. We are immensely privileged to welcome an extremely distinguished group of preachers. Lord Williams of Oystermouth is Master of Magdalene College. He was Archbishop of Canterbury between 2002–12, having previously been Archbishop of Wales and Bishop of Monmouth, Lady Margaret’s Professor of Divinity in Oxford, and Dean of Clare, where he is now an Honorary Fellow. -
Elgar/Payne Symphony No3. an Introduction by Anthony Payne
Elgar/Payne Symphony No3. An Introduction by Anthony Payne I first came across the sketches for Elgar's Third Symphony at the end of W H Reed's book Elgar as I Knew Him. The majority of the most important pages are reproduced there in facsimile and I was immediately fascinated by the power and vitality of the music. It simply leapt from the page, and although most of the sketches were in short score, with only a few instrumental indications, I immediately began to hear orchestral sounds in my head. I knew that on his deathbed Elgar had placed an embargo on attempts to complete the work, on what he called "tinkering" with it; but I felt this could not prevent me from musing over the sketches in the privacy of my room, and I used to follow them through, aided by Reed's account of how he played them on his violin with Elgar at the piano. It was music that seemed to me to show Elgar in inspirational flight, and it gave the lie to received opinion that he had become a spent force after the death of his wife. The history of the Symphony has been well documented, but it is worth repeating the basic facts. Elgar's old friend George Bernard Shaw had often badgered the composer about producing a third symphony, and early in 1932 he renewed his attack, suggesting that the BBC might be persuaded to commission it. This time Elgar half rose to the bait. He had recently orchestrated Chopin's Funeral March, and when he was asked by a critic if the rest of Chopin's sonata could be orchestrated to make a symphony, he replied that he would sooner write one of his own. -
583 Jane's Minstrels
Page 1 My Own Country Soprano JANE MANNING JANE'S MINSTRELS conductor ROGER MONTGOMERY Songs and Music by Roger Quilter, Peter Warlock Frank Bridge, Ethel Smyth Page 2 Page 3 best, his style is finely balanced between light ballad more surprising for being the work of a woman in the My Own Country and art song, and Warlock, notably, acknowledged his male-dominated musical scene of her time, it has been debt to this kind of utterance, as did a number of Smyth's misfortune that her larger than life English song composers of the time, laced as it is with personality, splendidly represented in her extensive a French harmonic poise. Unlike Bridge, however, autobiographical writings, and her leading role in the Jane Manning ~ soprano Quilter hardly developed in manner or substance suffragette movement, have continued to divert throughout his long composing life, although , with his attention from the music. Susanne Stanzeleit ~ violin I Three Pastoral Songs of 1920, he proved still capable Marina Gillam ~ violin II of investing the well-tried style with a fresh impulse. To the unprejudiced ear, this undervaluing of Dorothea Vogel ~ viola Smyth's music may well seem incomprehensible, Adrian Bradbury ~ cello Ethel Smyth (1858-1944) belonged to a rather especially when becoming acquainted with her Four different musical world. Although still productive Songs for Voice, Flute, Harp, String Trio and Dominic Saunders ~ piano during the 1920s, she reached her seventieth year Percussion, composed in 1907. By this time, a certain Robert Manasse ~ flute before the end of the decade, at which point increasing Gallic grace had been incorporated into Smyth's Emily Pailthorpe ~ oboe/cor anglais deafness brought her composing to an end.