PRESS 1997 David Whetstone, 'Sculptor Unveils
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The Mw 6.3 Christchurch, New Zealand Earthquake of 22 February 2011
THE MW 6.3 CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT THE CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT Sean Wilkinson Matthew Free Damian Grant David Boon Sarah Paganoni Anna Mason Elizabeth Williams Stuart Fraser Jenny Haskell Earthquake Field Investigation Team Institution of Structural Engineers 47 - 58 Bastwick Street London EC1V 3PS Tel 0207235 4535 Fax 0207235 4294 Email: [email protected] June 2011 The Mw 6.2 Christchurch Earthquake of 22 February 2011 1 CONTENTS ACKNOWLEDGEMENTS 3 1. INTRODUCTION 4 2. REGIONAL TECTONIC AND GEOLOGICAL SETTING 6 3. SEISMOLOGICAL ASPECTS 12 4. NEW ZEALAND BUILDING STOCK AND DESIGN PRACTICE 25 5. PERFORMANCE OF BUILDINGS 32 6. PERFORMANCE OF LIFELINES 53 7. GEOTECHNICAL ASPECTS 62 8. DISASTER MANAGEMENT 96 9. ECONOMIC LOSSES AND INSURANCE 108 10. CONCLUSIONS 110 11. REFERENCES 112 APPENDIX A: DETAILED RESIDENTIAL DAMAGE SURVEY 117 The Mw 6.2 Christchurch Earthquake of 22 February 2011 2 ACKNOWLEDGEMENTS The authors would like to express their thanks to the many individuals and organisations that have assisted with the EEFIT mission to Christchurch and in the preparation of this report. We thank Arup for enabling Matthew Free to attend this mission and the British Geological Survey for allowing David Boon to attend. We would also like to thank the Engineering and Physical Sciences Research Council for providing funding for Sean Wilkinson, Damian Grant, Elizabeth Paganoni and Sarah Paganoni to join the team. Their continued support in enabling UK academics to witness the aftermath of earthquakes and the effects on structures and the communities they serve is gratefully acknowledged. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
PRESS 2007 Eimear Mckeith, 'The Island Leaving The
PRESS 2007 Eimear McKeith, 'The island leaving the art world green with envy', Sunday Tribune, Dublin, Ireland, 30 December 2007 Fiachra O'Cionnaith, 'Giant Sculpture for Docklands gets go-ahead', Evening Herald, Dublin, Ireland, 15 December 2007 Colm Kelpie, '46m sculpture planned for Liffey', Metro, Dublin, Ireland, 14 December 2007 Colm Kelpie, 'Plans for 46m statue on river', Irish Examiner, Dublin, Ireland, 14 December 2007 John K Grande, 'The Body as Architecture', ETC, Montreal, Canada, No. 80, December 2007 - February 2008 David Cohen, 'Smoke and Figures', The New York Sun, New York, USA, 21 November 2007 Leslie Camhi, 'Fog Alert', The Village Voice, New York, USA, 21 - 27 November 2007 Deborah Wilk, 'Antony Gormley: Blind Light', Time Out New York, New York, USA, 15 - 21 November 2007 Author Unknown, 'Blind Light: Sean Kelly Gallery', The Architect's Newspaper, New York, USA, 14 November 2007 Francesca Martin, 'Arts Diary', Guardian, London, England, 7 November 2007 Will Self, 'Psycho Geography: Hideous Towns', The Independent Magazine, The Independent, London, England, 3 November 2007 Brian Willems, 'Bundle Theory: Antony Gormley and Julian Barnes', artUS, Los Angeles, USA, Issue 20, Winter 2007 Author Unknown, 'Antony Gormley: Blind Light', Artcal.net, 1 November 2007 '4th Annual New Prints Review', Art on Paper, New York, USA, Vol. 12, No. 2, November-December 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Märkische Oderzeitung, Berlin, Germany, 23 October 2007 Author Unknown, 'Der Menschliche Körper', Berliner Morgenpost, Berlin, Germany, 18 October 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Lausitzer Rundschau, Berlin, Germany, 6 October 2007 Natalia Marianchyk, 'Top World Artists come to Kyiv', What's on, Kyiv, Ukraine, No. -
Billy Childish Flowers, Nudes and Birch Trees: New Paintings 2015 September 10-October 31, 2015 536 West 22Nd Street, New York #Billychildish
Billy Childish flowers, nudes and birch trees: New Paintings 2015 September 10-October 31, 2015 536 West 22nd Street, New York #billychildish Opening Reception: Thursday, September 10, 6-8PM birch wood, 2015, oil and charcoal on linen, 72.05 x 108.07 inches, 183 x 274.5 cm. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. New York, August 11, 2015—Lehmann Maupin is pleased to present its fourth exhibition with British artist Billy Childish, a prolific painter, writer, and musician. The artist’s vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish’s work. The artist will be present for an opening reception at the gallery on Thursday, September 10 from 6-8PM. Working in traditional genres such as portraiture, still life, and landscape, Childish’s paintings are spiritually charged expressions that come from a place of deep personal meaning. These powerful works, including unabashed nudes, self-portraits, and dense woodland scenes, honor the simple nature of being and in the process transcend the ordinary. Eschewing any hint of post-modernist irony in his work, he allows the basics of personal expression to come forth through the fundamentals of painting. A self-proclaimed “Radical Traditionalist,” Childish has said, “The reason I honor tradition is that it provides a form and structure that allows freedom—the ego is subjugated and the requirements of the painting are met. Tradition is not to be worshipped or adored; it is a vehicle to take you to new places, or we could say to arrive at the perennial.” While he is occasionally associated with British groups like the Stuckists and YBAs, Childish does not see himself as connected to a particular contemporary movement; however, he is highly regarded and well known by his peers, including renowned artists Peter Doig and Tracey Emin. -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter -
Matthew Higgs
The Museum of Everything Exhibition #4 Conversation with Matthew Higgs Matthew Higgs b 1964 (Wakefield, England) Matthew Higgs is an artist, curator, writer and director of White Columns Gallery, New York. Former director of exhibitions at the ICA in London (1996/9) and a former curator at the Wattis Institute in San Francisco (2001/4), Higgs was a contributor and speaker at Exhibition #1 and has ex- hibited the work of Creative Growth artists Dan Miller (2011) and William Scott (2009), both featured in Exhibition #4. [START] MoE: Matthew, I wondered if we could talk a little about your involvement with self-taught art and in particular with the artists at Creative Growth. You have curated the work of Judith Scott, Dan Miller, William Scott and Aurie Ramirez, I wondered if you could articulate what it is you feel is important about these artists and what they mean in terms of our understanding of art? MH: When I first came across Creative Growth ten years ago, my limited understanding of self-taught, outsider artists and creativity in relation to disabilities, was naï ve at best. Encountering an organisation like Crea- tive Growth forced me to think about my own relationship with this work and with art in general. I had spent most of the 1990s teaching undergraduate and graduate level in art schools. What was interesting was just how different the atmosphere was at Creative Growth. Art was being made for reasons that remained out of reach. The emphasis in conventional art schools is a pressure to ex- plain, to defend one’s intellectual and aesthetic territories. -
Norwegian Eat Your Way Through Any Holiday with This Cookbook American Story on Page 12-13 Volume 127, #30 • November 4, 2016 Est
the Inside this issue: NORWEGIAN Eat your way through any holiday with this cookbook american story on page 12-13 Volume 127, #30 • November 4, 2016 Est. May 17, 1889 • Formerly Norwegian American Weekly, Western Viking & Nordisk Tidende $3 USD Discovering Helgeland It’s never too late to uncover a new favorite part of Norway PATRICIA BARRY Hopewell Junction, N.Y. “What is your favorite place in Norway?” I world-famous Lofoten Islands, Helgeland— was asked during our trip there in June. Norway’s hidden gem—quietly displays its own I hesitated. Our family has covered lots of unique beauty. territory in Norway. We’ve been to every fylke Helgeland’s partially submerged lowlands (county) and seen more of Norway than most form thousands of skerries that dot the coast- Norwegians, we’ve been told. How could I pick line. Sharp, angular mountains (3,500 ft.) pop WHAT’S INSIDE? one favorite place? up along the coast. Add to this the white sandy And would my answer change? Every trip beaches, glaciers, fjords, inland forests and Nyheter / News 2-3 Du må tørre å ta modige to Norway we seek out new places. On this trip mountains, and the Arctic Circle and you have a « Business og krevende valg. Det finnes 4-5 Helgeland would be our new adventure. combination of features that makes Helgeland a Our entourage included my husband, our unique and stunning part of Norway. ikke noen snarvei. » Opinion 6-7 Sports 8-9 son, our former exchange student, her husband Easily accessible but not as crowded as – Celina Midelfart (our personal tour guide born and raised in Helge- more popular destinations, Helgeland beckons. -
An Analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 From the Academy to the Marketplace: An analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art Education Commons, Curriculum and Instruction Commons, and the Higher Education Commons From the Academy to the Marketplace: An Analysis of New York and London Fine Art Schools’ Responses to the Market in Pedagogy and Curricula By Adelaide Dunn A thesis submitted in conformity with the requirements for a Master of Arts in Art Business Sotheby’s Institute of Art, New York 2018 14,976 words Abstract As fine art degrees expand in cost and popularity, the need to educate students about the complex art market they are entering is more urgent now than ever before. But despite the globalizing art market’s continuing demand for emerging talent, its opaque and hypercompetitive nature generates significant obstacles for fine art graduates. This is exacerbated by the relative absence of practical business and legal skills implemented in fine art curricula across the U.S. and U.K. Statistical and anecdotal evidence highlighting the many entrepreneurial skills required to develop and sustain a professional practice, demonstrates the need for more comprehensive professional development syllabi to be implemented in fine art schools. This thesis takes as its main focus the art markets of New York and London, and assesses how fine art schools in these rapidly intensifying urban centers respond to their commercial environments. -
Thecollective
WORKPLACEGATESHEAD The Old Post Office 19-21 West Street Gateshead, NE8 1AD thecollective Preview: Friday 5th May 6pm – 8pm Exhibition continues: 6th May – 3rd June Opening hours: Tuesday – Saturday 11am – 5pm Issued Wednesday 26th April 2018 Workplace Gateshead is delighted to present the first public exhibition of selected works from The Founding Collective. FOR IMMEDIATE RELEASE Started in 2002 in London by a group of art professionals and families interested in living with contemporary art The Collective is a growing network of groups collecting, sharing and enjoying contemporary art in their homes or places of work. The combined collection of The Founding Group now comprises over 60 original and limited edition works by emerging and established artists. Selected by Workplace this exhibition includes works by: Mel Brimfield, Jemima Brown, Fiona Banner, Libia Castro & Olafur Olafsson, Martin Creed, Tom Dale, Michael Dean, Tacita Dean, Peter Doig, Bobby Dowler, Tracey Emin, Erica Eyres, Rose Finn-Kelcey, Ceal Floyer, Matthew Higgs, Gareth Jones, Alex Katz, Scott King, Jochen Klein, Edwin Li, Hilary Lloyd, Paul McCarthy, Paul Noble, Chris Ofili, Peter Pommerer, James Pyman, Frances Richardson, Giorgio Sadotti, Jane Simpson, Wolfgang Tillmans, Piotr Uklanski, Mark Wallinger, Bedwyr Williams, and Elizabeth Wright. Free public event: Friday 5th May, 5pm - 6pm, all welcome Founding members of The Collective will give an informal introduction to the history of the group, how it works, how it expanded and plans for the future. This will be followed by an open discussion chaired by WORKPLACE directors Paul Moss and Miles Thurlow focusing on the importance of collecting contemporary art, how to make a start regardless of budget, and the challenges and opportunities for new collectors in the North of England. -
Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected]
Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected] MATTHEW HIGGS Born 1964 in Wakefield, West Yorkshire, England Lives and works in New York Education 1984-87 Newcastle-upon-Tyne Polytechnic, BA (Hons Fine Art) 1983-84 Blackburn School of Art (Foundation) Solo Exhibitions 2016 Lost For Words, Murray Guy, New York 2015 Matthew Higgs and Clive Hodgson, Wilkinson, London 2014 Matthew Higgs, Ian Wallace: Reading Works, The Apartment, Vancouver 2013 MLMH (two person exhibition with Margaret Lee), Murray Guy, New York 2012 MHML (two person exhibition with Margaret Lee), The Green Gallery, Milwaukee, WI 2010 Showdown, The Apartment, Athens, Greece 2009 Art in Crisis – Pictures in Peril, Murray Guy, New York Never Look Back, Glenn Horowitz Bookseller, East Hampton, NY Beginnings, Middles and Ends (with Gedi Sibony), Galerie Senn, Vienna 2008 Art Is To Enjoy, Wilkinson, London Are You Happy, The Apartment, Vancouver 2007 EX LIBRIS: Matthew Higgs and Peter Wuethrich, University Gallery Umass, Amherst, MA Jack Hanley, Los Angeles 2006 What goes around comes around, Murray Guy, New York 2004 Priceless, The Suburban, Oak Park, IL 2003 Art Isn’t Easy, Murray Guy, New York 2002 Not Worth Reading, Anthony Wilkinson Gallery, London 2000 Look Now, Pay Later, Murray Guy, New York 1999 Anthony Wilkinson Gallery, London 1997 There’s a painting on the wall (a collaboration with Chris Ofili), Anthony Wilkinson Fine Art, London 1996 There’s a painting on the wall (a collaboration with Peter Doig), Anthony Wilkinson Fine Art, London Selected Group Exhibitions 2016 Foundation Barbin Presents Redeux Sort Of, Kai Matsumiya Gallery, New York 2014 Not for All My Little Words (curated by Tim Hawkinson), Marc Straus, New York Manic Panic, Shoot the Lobster, New York. -
PRESS 1994 Adrian Searle
PRESS 1994 Adrian Searle, 'We know you're in there'. The Independent, 4 November 1994 Angella Johnson, 'Man of iron forges hard image in the name of art', The Guardian, London, England, 2 November 1994 Author Unknown, 'Tate unveils entries for Turner Prize', The Times, London, England, 2 November 1994 Dan Conaghan, 'Artists bend over backwards to keep prize controversial', The Daily Telegraph, London, England, 2 November 1994 Robin Stringer, 'An about-Turner?', Evening Standard, London, England, 1 November 1994 Acta Orthopaedica Scandinavica vol.65 no.5 [cover], Scandinavian University Press, Oslo/Copenhagen/Stockholm, October 1994 D. Vidovic, 'Krik za savjest covjecalistva', Oslobocyeiye, Sarajevo, Bosnia, 27 September 1994 Author Unknown, 'En havmann til glede', Rana Blad, Mo i Rana, Norway, 23 September 1994 Geir Pedersen, 'Havmannen setters pa plass', Rana Blad, Mo i Rana, Norway, 22 September 1994 Jane Rankin-Reid, 'Air and Angels', Art and Text no.49, Melbourne, Australia, Autumn 1994 David Whetstone, 'A little bit of heaven in Gateshead', Northern Review, Autumn 1994 P. Szues Julianna, 'Valodi diszletek a Varban', Nepszabadsag, Budapest, Hungary, 27 August 1994 Horanyi Attila, 'Harmincotezer agyagfigura', Magyar Narancs, Budapest, Hungary, 18 August 1994 Zsofia Horvath, 'Silent figures speak', The Budapest Sun, Budapest, Hungary, 11-17 August 1994 Author Unknown, 'An exhibit for the world', Budapest Week, Budapest, Hungary, 4 August 1994 Marianne Schei Aagdal, 'Havmann i granitt' Harstad Tidende, Harstad, Norway, 30 July 1994 David -
Sean Landers Cv 2021 0223
SEAN LANDERS Born 1962, Palmer, MA Lives and works in New York, NY EDUCATION 1986 MFA, Yale University School of Art, New Haven, CT 1984 BFA, Philadelphia College of Art, Philadelphia, PA SOLO EXHIBITIONS 2020 Petzel Gallery, New York, NY, 2020 Vision, April 26–ongoing (online presentation) Greengrassi, London, UK, Northeaster, June 16–July 31 Consortium Museum, Dijon, France, March 13– October 18, curated by Eric Troncy 2019 Ben Brown Fine Arts, Hong Kong, China, November 12–January 9, 2020 Galerie Rodolphe Janssen, Brussels, Belgium, November 9–December 20 (catalogue) Petzel Bookstore, New York, NY, Curated by . Featuring Sean Landers, November 7– December 14 Freehouse, London, UK, Sean Landers: Studio Films 90/95, curated by Daren Flook, January 13–February 24 2018 Petzel Gallery, New York, NY, March 1–April 21 (catalogue) 2016 Capitain Petzel, Berlin, Germany, Sean Landers: Small Brass Raffle Drum, September 16– October 29 2015 Taka Ishii Gallery, Tokyo, Japan, December 5–January 16, 2016 Galerie Rodolphe Janssen, Brussels, Belgium, October 29–December 19 (catalogue) China Art Objects, Los Angeles, CA, February 21–April 11 2014 Petzel Gallery, New York, NY, Sean Landers: North American Mammals, November 13– December 20 (catalogue) 2012 Galerie Rodolphe Janssen, Brussels, Belgium, November 8–December 21(catalogue) Sorry We’re Closed, Brussels, Belgium, Longmore, November 8–December 21 greengrassi, London, UK, April 26–June 16 1 2011 Friedrich Petzel Gallery, New York, NY, Sean Landers: Around the World Alone, May 6–June 25 Marianne Boesky Gallery, New York, NY, Sean Landers: A Midnight Modern Conversation, April 21–June 18 (catalogue) 2010 Contemporary Art Museum St.