Contemporary Art Society Annual Report 1967-68
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TURNER PRIZE: Most Prestigious— Yet Also Controversial
TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J. -
DAME BARBARA HEPWORTH 1903 Wakefield - St
LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions. -
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. -
201914Th-28Th September Programme of Events
A TWO WEEK CELEBRATION OF MUSIC AND THE ARTS IN ST IVES CORNWALL ST IVES SEPTEMBER FESTIVAL 201914th-28th September Programme of Events Visit our website for updates and online booking: www.stivesseptemberfestival.co.uk and follow us on facebook, twitter and instagram. Tickets & Information Unless otherwise stated, tickets are available from: St Ives School of Painting l www.stivesseptemberfestival.co.uk Outside Workshops l Cornwall Riviera Box Office: 01726 879500 For outside workshops we recommend l Visit St Ives Information Centre, St Ives Library, Gabriel Street, St Ives TR26 2LU you bring sturdy walking shoes (or Opening hours: Mon to Sat 9.30am-5pm, Sun 10am-3pm 01736 796297 trainers) and either warm waterproof l Tourist Offices in Penzance, Truro, St Mawes, St Austell, Bodmin, Launceston, clothing, sunhats and sun cream as Liskeard. appropriate. We meet at Porthmeor l Tickets on the door if available. Studios but a few landscape workshops are based at the Penwith Studio, Information Points accessed via a steep cobbled ramp. l Café Art, The Drill Hall, Royal Square, St Ives. Mon, Wed, Fri, Sat 10am-4pm - Tues, Thurs 10am-5pm, Sun 11am-4pm l Outside Mountain Warehouse, Fore Street, Sat 14th and 21st 10am-5pm Pre-Concert Suppers The 2019 Festival Raffle Café Art, The Drill Hall, Win Cheese and Chocolate. Prize is donated by ‘Cheese On Coast’ and ‘I Should Chapel Street, St IvesTR26 2LR Coco’. Raffle tickets can be bought at a number of venues, including The Guildhall Vegetarian hot meals served in an and Café Art during the Festival. The winner will be announced at the end of October. -
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.......................................................................... -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
Health and Well-Being
NOVEMBER/DECEMBER 2019 FITNESS THERAPY SOLACE + HEALING Health and Well-Being Cover_ND19_V1.indd 1 10/14/19 3:35 PM IFC-005 TOC_Pres Message.indd 2 10/14/19 3:24 PM GETTING PEOPLE IN THE DOOR IS HARD WORK. THESE STUDIES CAN HELP. Taking Out the Guesswork: A Guide to Using Research to Build Arts Audiences Learn about three tasks key to successful audience building: understanding potential audiences, creating effective promotional materials, and tracking and assessing progress. The Road to Results: Effective Practices for Building Arts Audiences Ten arts organizations that took on ambitious audience-building projects. This guide identifies nine practices their most successful efforts had in common. Download these reports and many more free resources to help build audiences: Wallacefoundation.org IFC-005 TOC_Pres Message.indd 1 10/14/19 3:25 PM NOVEMBER DECEMBER 2019 ISSUE CONTENTS PROTECT. SURROUND. KEEP A LOW PROFILE. DEPARTMENTS 5 From the President and CEO 6 By the Numbers 8 First Look FEATURES 14 Point of View Museums as 22 Fitness Never Looked So Fun Public Health The Children’s Museum of Indianapolis Assets has worked with the local children’s 18 Point of View hospital to create an engaging health Becoming and fitness experience. OutGoing By Alli Stitle and Kimberly Harms 46 Tributes and 28 Museum Therapy Transitions The Montreal Museum of Fine Arts 48 Reflection nurtures resilience and renewal through its programs and practices. By Marilyn Lajeunesse and Stephen Legari 34 Sites of Healing The Michigan State University Cover: © Bedelgeuse “master Museum turned to community of the mind,” mixed media collage co-curation to tell survivors’ stories of sexual violence. -
The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-82
The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-821 5323 The Annual General Meeting of The Contemporary Art Society will be held at the Warwick Arts Trust, 33 Warwick Square, London S.W.1. on Monday, 14 July, 1986, at 6.15pm. 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December, 1985, together with the auditors'report. 2. To reappoint Neville Russeii as auditors of the Society in accordance with section 14 of the Companies Act, 1976, and to authorize the committee to • determine their remuneration for the coming year, 3. To elect to the committee the following who have been duly nominated: Sir Michael Culme-Seymour and Robin Woodhead. The retiring members are Alan Bowness and Belle Shenkman. 4. Any other business. By order of the committee Petronilla Silver Company Secretary 1 May, 1986 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Cover: The Contemporary Art Society 1910-1985 Poster by Peter Blake {see back cover and inside lor details) Her Majesty Queen Elizabeth The Queen Mother The CAS celebrated its 75th birthday this year. My report will be shorter than usual in order to allow space to print the speech made by Sir John Sainsbury when proposing the toast to the Society at. our birthday party at Christie's. Although, in fact, our Nancy Balfour OBE celebrations took place at the beginning of 1988, we felt an account rightly belonged in this year's report. -
City, University of London Institutional Repository
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: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III 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 eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. 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 or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
Autumn Newsletter 2011
DATS Dress and Textile Specialists Autumn Newsletter 2011 Contents Page Committee 3 Conference 2011 4 News & Events 7 Exhibitions 9 New Books 13 Front cover image: Fashion & Textile Gallery, The Bowes Museum, image courtesy of The Bowes Museum 2 DATS Committee 2011 Chair Secretary Christine Stevens Rebecca Quinton e-mail [email protected] Curator, European Costume and Textiles Glasgow Museums Tel: 0141 287 0509 Email: [email protected] Treasurer Membership Secretary Danielle Sprecher Ruth Battersby Tooke Leeds Museums and Galleries Norfolk Museums and Archaeology Service, Discovery Centre Shirehall, Market Avenue, Carlisle Road, Norwich, NR1 3JQ Leeds, Tel: 01603 223873 Tue-Fri) LS10 1LB email: [email protected] Tel: 0113 214 1557 e-mail: [email protected] Newsletter Editor Web Editor Alex Ward Kate Reeder Assistant Keeper, Social History Curator Art and Industrial Division, Beamish North of England Open Air Museum, National Museum of Ireland, Beamish, Collins Barracks, Co. Durham, DH9 0RG Dublin 7, Ireland Tel: 0191 370 4009 Tel: 00 353 1 6486469 e-mail: [email protected] e-mail: [email protected] SSN Officer (Acting) National Museums Representative Cassie Davies-Strodder Currently vacant Assistant Curator, Department of Furniture, Textiles and Fashion, Victoria & Albert Museum, South Kensington, London, SW7 2RL Tel: 020 7942 2290 e-mail: [email protected] Conservation Representative South East England Representative Janet Wood Fiona Woolley Conservation and Collections Care, Keeper of Fine and Applied Art, Apt 37, Maidstone Museum and Bentlif Art Gallery, Hampton Court Palace, St. Faith‟s Street, Surrey, KT8 9AU Maidstone, Tel: 020 3166 646 Kent, ME14 1LH e-mail: [email protected] Tel: 01622 602850 e-mail: [email protected] South West England Representative North of England Representative Paula Martin Caroline Whitehead Assistant Curator of Costume and Textiles, Email: [email protected] Royal Albert Memorial Museum, Queen Street, Exeter, EX4 3RX Tel. -
Contemporary Art Society Annual Report 1969-70
Chairman's Report 30 June 1970 Patron My report covers the Society's activities from June last year until to-day. Her Majesty Queen Elizabeth The Queen Mother The buyers for 1969, David Thompson and David Sylvester spent just over £4000. on twenty-four works. Executive Committee Whitney Straight CBE MC DFC Chairman At the end of the year David Sylvester tendered his resignation due to pressure Anthony Lousada Vice-Chairman of work. We accepted with much regret as he has been a most useful and Peter Meyer Honorary Treasurer constructive member. Lord Croft and Alan Bowness accepted our invitation to The Hon J. D. Sainsbury Honorary Secretary rejoin the Committee and we are very glad to have them back. G. L. Conran On 9th July we organised a "Pop Party" at the Hayward Gallery for the Art Alan Bowness (until June 1969) James Melvin (until June 1969) Council's Pop Art Exhibition. I think our members enjoyed the innovation of hot Dr Kenneth Marsh dogs being served which seemed to go so well with the content of a lot of the Norman Reid pictures! David Sylvester Our weekend trips thrive and never seem to lack support which is very gratifying. David Thompson Nancy Balfour In September we had a most interesting visit to Northumberland and County Joanna Drew Durham when Miss Vogelpoel took a large party to Newcastle. From there members Bryan Robertson visited the Duke and Duchess of Northumberland at Alnwick Castle and saw Alistair McAlpine their fine collection of paintings. We were also invited by the friends of the Laing Art Gallery to a special viewing of the Claude Lorraine Exhibition.