Museum Collection Development Policy 2018-23.Pdf
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National Collecting Scheme Scotland National
National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008. -
North East Scotland
Employment Land Audit 2018/19 Aberdeen City Council Aberdeenshire Council Employment Land Audit 2018/19 A joint publication by Aberdeen City Council and Aberdeenshire Council Executive Summary 1 1. Introduction 1.1 Purpose of Audit 5 2. Background 2.1 Scotland and North East Scotland Economic Strategies and Policies 6 2.2 Aberdeen City and Shire Strategic Development Plan 7 2.3 Aberdeen City and Aberdeenshire Local Development Plans 8 2.4 Employment Land Monitoring Arrangements 9 3. Employment Land Audit 2018/19 3.1 Preparation of Audit 10 3.2 Employment Land Supply 10 3.3 Established Employment Land Supply 11 3.4 Constrained Employment Land Supply 12 3.5 Marketable Employment Land Supply 13 3.6 Immediately Available Employment Land Supply 14 3.7 Under Construction 14 3.8 Employment Land Supply Summary 15 4. Analysis of Trends 4.1 Employment Land Take-Up and Market Activity 16 4.2 Office Space – Market Activity 16 4.3 Industrial Space – Market Activity 17 4.4 Trends in Employment Land 18 Appendix 1 Glossary of Terms Appendix 2 Employment Land Supply in Aberdeen and map of Aberdeen City Industrial Estates Appendix 3 Employment Land Supply in Aberdeenshire Appendix 4 Aberdeenshire: Strategic Growth Areas and Regeneration Priority Areas Appendix 5 Historical Development Rates in Aberdeen City & Aberdeenshire and detailed description of 2018/19 completions December 2019 Aberdeen City Council Aberdeenshire Council Strategic Place Planning Planning and Environment Marischal College Service Broad Street Woodhill House Aberdeen Westburn Road AB10 1AB Aberdeen AB16 5GB Aberdeen City and Shire Strategic Development Planning Authority (SDPA) Woodhill House Westburn Road Aberdeen AB16 5GB Executive Summary Purpose and Background The Aberdeen City and Shire Employment Land Audit provides up-to-date and accurate information on the supply and availability of employment land in the North-East of Scotland. -
Contemporary Art Society Annual Report 1982
Contemporary Art Society Annual Report and Statement of Accounts 1982 ate Gallery 0 John Islip Street Dndon SW1 P 4LL 1-821 5323 The Annual General Meeting of the Contemporary Art Society will be held at Warwick Arts Trust, 33, Warwick Square, S.W.1 on Tuesday, August 9th, 1 983 at 6.1 5 p.m. 1 . To receive and adopt the report of the committee and the accounts for the year ended December 31,1 982, together with the auditor's report. 2. To appoint auditors, special notice having been given, pursuant to section 1 42 of the Companies Act 1 948 and section 1 4 (1} (a) of the Companies ' Act 1 976, of the intention to propose the following resolution as an ordinary resolution:-- that Messrs. Neville Russell be, and are hereby, appointed auditors of the Society in place of the retiring auditors, Messrs. Sayers Butterworth, to hold office until the conclusion of the next general meeting at which accounts are laid before the Society. 3. To authorise the committee to determine Messrs. Neville Russell's remuneration for the coming year. 4. To elect to the committee the following who has been duly nominated; Philip Poilock, The retiring members are Joanna Drew and the Marquess of Dufferin and Ava. 5. Any other business. By order of the committee Petronilla Spencer-Silver Company Secretary May 28 1 983 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Untitled Drawing from a series of paintings made in Australia, 1 981 Chalk, charcoal and wash on paper 44£ x 62 inches/1 13x157 cm. -
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 -
List of Scottish Museums and Libraries with Strong Victorian Collections
Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish -
Janice Mcnab — Curriculum Vitae
Janice McNab — Curriculum vitae Born in Aberfeldy, Scotland. Lives and works in The Hague. EDUCATION 2019 PhD, Amsterdam School for Cultural Analysis, University of Amsterdam 1997 MFA, Glasgow School of Art. Exchange to Hunter College of the Arts, New York 1986 BA, Edinburgh College of Art EMPLOYMENT 2020–2022 Post-doc researcher, ACPA, University of the Arts, The Hague and Leiden University 2015–ongoing Head, MA Artistic Research, The Royal Academy of Art, The Hague Previous teaching experience includes: 2013–2015 Thesis supervisor, Piet Zwart Masters Institute, Rotterdam 2011–2015 Thesis supervisor, Gerrit Rietveld Academy, Amsterdam 2009–2015 Studio tutor, The Royal Academy of Art, The Hague 2006–2008 Thesis supervisor, Piet Zwart Masters Institute, Rotterdam 1997–1999 Studio tutor, Glasgow School of Art External examiner, visiting artist and guest lecturer at various art schools across Britain and Europe, including, in 2020, lectures for DutchCulture.nl Brexit debates and ASCA, University of Amsterdam 30th anniversary conference. OTHER PROFESSIONAL EXPERIENCE 2018–ongoing Chair, Board of 1646 Experimental Art Space, The Hague 2009–2015 Co-editor, If I Can’t Dance Publications, Amsterdam 2008–2009 Mentor, My Miyagi Young Curator programme, Stichting Mama, Rotterdam 2006–2009 Co-curator, Artis Den Bosch, Art Space, ‘s Hertogenbosch 1/4 SELECTED EXHIBITIONS AND PROJECTS 2020 Slits and a Skull, Bradwolff Projects, Amsterdam A New World, Stroom, The Hague 2016 Hollandaise, The Dutch Embassy and New Art Projects, London 2015 Undone, Bradwolff -
Royal Deeside & the Castle Trail
Royal Deeside & The Castle Trail NEW Destination Itinerary S E Day 1 Arrival in Aberdeen I We travel to the Thistle Aberdeen Altens our base for the next 4 nights. Aberdeenshire is full of history and the R varied landscape is dotted with fascinating castles and A monuments. Royal Deeside is one of the most beautiful areas of Scotland and is a highlight of any visit to this R area. E Day 2 Free in Aberdeen N Today is a free day to explore Aberdeen – The Granite I City. Wander around the impressive turreted Town House in Union Street, the castellated Citadel at The T Castlegate and the striking gothic Marischal College, the I world’s second largest granite structure, which are all fine examples of Aberdeen's most famous export. Aberdeen has so much to offer including the 500 year D old University King’s College, or visit Provost Skene's E House, Aberdeen's oldest private town house. The Aberdeen Art Gallery boasts exhibits by impressionists G Monet, Pisarro and Renoir and a host of fabulous visiting exhibitions across the year. Visitors to Aberdeen's three A key attractions Provost Skene's House, Aberdeen Art Gallery and the Aberdeen Maritime Museum K will all enjoy free entry. If you would prefer a day of retail therapy Aberdeen is also excellent for shopping C Balmoral Castle ©Paul Tompkins,Scottish ViewPoint and the famous 'Granite Mile' - Union Street - is the A gateway to over 800 shops, from the latest fashions to 5 DAYS from only £207 traditional Scottish crafts. P Day 3 Royal Deeside We travel through the magnificent scenery of Royal Thistle Aberdeen NEW Deeside, where the Balmoral Estate nestles in the shadows of Lochnagar. -
Histoire Des Collections Numismatiques Et Des Institutions Vouées À La Numismatique
HISTOIRE DES COLLECTIONS NUMISMATIQUES ET DES INSTITUTIONS VOUÉES À LA NUMISMATIQUE Numismatic Collections in Scotland Scotland is fortunate in possessing two major cabinets of international signifi- cance. In addition over 120 other institutions, from large civic museums to smaller provincial ones, hold collections of coins and medals of varying size and impor- tance. 1 The two main collections, the Hunterian held at the University of Glasgow, and the national collection, housed at the National Museums of Scotland in Edinburgh, nicely complement each other. The former, based on the renowned late 18th centu- ry cabinet of Dr. William Hunter, contains an outstanding collection of Greek and Roman coins as well as important groups of Anglo-Saxon, medieval and later English, and Scottish issues along with a superb holding of medals. The National Museums of Scotland house the largest and most comprehensive group of Scottish coins and medals extant. Each collection now numbers approximately 70,000 speci- mens. The public numismatic collections from the rest of Scotland, though perhaps not so well known, are now recorded to some extent due to a National Audit of the coun- try’s cultural heritage held by museums and galleries carried out by the Scottish Museums Council in 2001 on behalf of the Scottish Government. 2 Coins and Medals was one of 20 collections types included in the questionnaire, asking for location, size and breakdown into badges, banknotes, coins, medals, tokens, and other. Over 12 million objects made up what was termed the Distributed National Collection, of which 3.3% consisted of approximately 68,000 coins and medals in the National Museums concentrated in Edinburgh and 345,000 in the non-nationals throughout the rest of the country. -
University Museums and Collections Journal 7, 2014
VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL 2 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL VOLUME 7 20162014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL 3 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL The University Museums and Collections Journal (UMACJ) is a peer-reviewed, on-line journal for the proceedings of the International Committee for University Museums and Collections (UMAC), a Committee of the International Council of Museums (ICOM). Editors Nathalie Nyst Réseau des Musées de l’ULB Université Libre de Bruxelles – CP 103 Avenue F.D. Roosevelt, 50 1050 Brussels Belgium Barbara Rothermel Daura Gallery - Lynchburg College 1501 Lakeside Dr., Lynchburg, VA 24501 - USA Peter Stanbury Australian Society of Anaesthetis Suite 603, Eastpoint Tower 180 Ocean Street Edgecliff, NSW 2027 Australia Copyright © International ICOM Committee for University Museums and Collections http://umac.icom.museum ISSN 2071-7229 Each paper reflects the author’s view. 4 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL Basket porcelain with truss imitating natural fibers, belonged to a family in São Paulo, c. 1960 - Photograph José Rosael – Collection of the Museu Paulista da Universidade de São Paulo/Brazil Napkin holder in the shape of typical women from Bahia, painted wood, 1950 – Photograph José Rosael Collection of the Museu Paulista da Universidade de São Paulo/Brazil Since 1990, the Paulista Museum of the University of São Paulo has strived to form collections from the research lines derived from the history of material culture of the Brazilian society. This focus seeks to understand the material dimension of social life to define the particularities of objects in the viability of social and symbolic practices. -
George Murray, Then Schoolmaster at Downiehill
500 THE BARDS OF BON-ACCORD. 11840-1850. not been so heavily liandicapped in the struggle for existence. As we have just said, such speculations and regrets are useless, for, had Peter Still been in any other circumstances than in the poverty which he ennobled, it is doubtful if we would have had the pleasure of writing this sketch. The hard lot, natural thouoh it be to regret it, made the man what he was; a smoother path of life might have given us a conventional respectability, but it would not have given us the Peter Still of whom Buchan men and women may justly be proud. GEOEGE MUEEAY (JAMES BOLIVAE MANSON). We have seen how, \vhen Peter Still, early in 1839, first enter- tained the idea of putting his poetical wares into book form, one of his most enthusiastic advisers to print was a man of kindred tastes to himself, George Murray, then schoolmaster at Downiehill. Peter, though just recovering from a spell of ill-health, set out for the dominie's with a bundle of manuscript poems for his perusal and judgment, and he records in a letter to a friend how proud he returned home with Murray's favourable opinioji of his poems and intended scheme—yea, he had actually got 13 sheets of goodly foolscap writing paper from his adviser for a copy of " The Rocky Hill "—a stroke of business which came as a god-send to Peter in those days! George Murray was the son of a small crofter at Kinnoir, Huntly, and was born in 1819. -
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. -
Glasgow Boys and the Scottish Colourists
Glasgow Boys and the Scottish Colourists Start date 19 July 2019 End date 19 July 2019 Venue Madingley Hall Madingley Cambridge Tutor Dr Jan D. Cox Course code 1819NRX048 Director of Academic Centres Sarah Ormrod For further information on this Head of Academic Centre Administration, Zara Kuckelhaus course, please contact [email protected] or 01223 746204 To book See: www.ice.cam.ac.uk or telephone 01223 746262 Tutor biography Dr Jan D. Cox was awarded a PhD in History of Art from the University of Leeds in 2014, where he specialised in 19th-century Nordic art. He shares his interests between this topic and British art of the late 19th and early 20th centuries. In addition to teaching at ICE, Cambridge, Jan is a regular tutor for Oxford University weekly classes, lectures at arts organisations, including Dillington House, and tutors an online course on the Impressionists. At Oxford Brookes University, Jan was awarded the Jeanne Sheehy Memorial Prize for work on Christopher Wood, an MA at Bristol followed, where his studies focused on John Minton, Keith Vaughan and British Neo-Romanticism. Subsequently, at the University of Plymouth, he placed online Wyndham Lewis's art criticism in 'The Listener' magazine (1946-51). He has lectured extensively throughout Britain, in addition to addressing conferences in Copenhagen, Montreal, Rome, Greifswald and Oslo, and at Tate Britain and Tate St. Ives. He has researched extensively on connections between the Glasgow Boys and France and Norway. University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ www.ice.cam.ac.uk Course programme Friday Please plan to arrive between 16:30 and 18:30.