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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. -
Edinburgh PDF Map Citywide Website Small
EDINBURGH North One grid square on the map represents approximately Citywide 30 minutes walk. WATER R EAK B W R U R TE H O A A B W R R AK B A E O R B U H R N R U V O O B I T R E N A W A H R R N G Y E A T E S W W E D V A O DRI R HESP B BOUR S R E W A R U H U H S R N C E A ER R P R T O B S S S E SW E O W H U A R Y R E T P L A HE B A C D E To find out more To travel around Other maps SP ERU W S C Royal Forth K T R OS A E S D WA E OA E Y PORT OF LEITH R Yacht Club R E E R R B C O T H A S S ST N L W E T P R U E N while you are in the Edinburgh and go are available to N T E E T GRANTON S S V V A I E A E R H HARBOUR H C D W R E W A N E V ST H N A I city centre: further afield: download: R S BO AND U P R CH RO IP AD O E ROYAL YACHT BRITANNIA L R IMPERIAL DOCK R Gypsy Brae O A Recreation Ground NEWHAVEN D E HARBOUR D Debenhams A NUE TON ROAD N AVE AN A ONT R M PL RFR G PIE EL SI L ES ATE T R PLA V ER WES W S LOWE CE R KNO E R G O RAN S G T E 12 D W R ON D A A NEWHAVEN MAIN RO N AD STREET R Ocean R E TO RIN K RO IV O G N T IT BAN E SH Granton RA R Y TAR T NT O C R S Victoria Terminal S O A ES O E N D E Silverknowes Crescent VIE OCEAN DRIV C W W Primary School E Starbank A N Golf Course D Park B LIN R OSWALL R D IV DRI 12 OAD Park SA E RINE VE CENT 13 L Y A ES P A M N CR RIMR R O O V O RAN T SE BA NEWHAVEN A G E NK RO D AD R C ALE O Forthquarter Park R RNV PORT OF LEITH & A O CK WTH 14 ALBERT DOCK I HA THE SHORE G B P GRANTON H D A A I O LT A Come aboard a floating royal N R W N L O T O O B K D L A W T A O C O R residence or visit the dockside bars Scottish N R N T A N R E E R R Y R S SC I E A EST E D L G W N O R D T D O N N C D D and bistros; steeped in maritime S A L A T E A E I S I A A Government DRI Edinburgh College I A A M K W R L D T P E R R O D PA L O Y D history and strong local identity. -
Church of Scotland Records Held by Aberdeen City and Aberdeenshire Archives
CHURCH OF SCOTLAND RECORDS HELD BY ABERDEEN CITY AND ABERDEENSHIRE ARCHIVES A GUIDE CONTENTS INTRODUCTION i ABERDEEN PRESBYTERY RECORDS 1 ST NICHOLAS KIRK SESSION RECORDS 4 GREYFRIARS KIRK SESSION RECORDS 12 NIGG KIRK SESSION RECORDS 18 ABERDEEN SYNOD RECORDS 19 ST CLEMENTS KIRK SESSION 20 JOHN KNOX KIRK SESSION RECORDS 23 INTRODUCTION Aberdeen City and Aberdeenshire Archives holds various records relating to the Church of Scotland in Aberdeen. The records are held by Aberdeen City and Aberdeenshire Archives on behalf of the National Archives of Scotland under what is known as ‘Charge and Superintendence’. When the Church of Scotland deposited its records in Edinburgh, a decision was made that where there were suitable repositories, local records would be held in their area of origin. As a result, Aberdeen City and Aberdeenshire Archives was designated as a suitable repository and various records were returned to the city. Microfilm copies of the majority of the original volumes can be viewed in the National Archives in Edinburgh. All Church of Scotland records begin with the reference CH2 followed by the number allocated to that particular church. For example, St Nicholas is referenced 448, therefore the full reference number for the records of the St Nicholas Kirk Session is CH2/448 followed by the item number. If you wish to look at any of the records, please note the reference number (this always starts with CH2 for records relating to the Church of Scotland) and take care to ensure the record you wish to view covers the correct dates. You do not need to note the description of the item, only the reference, but please ensure you have identified the correct item. -
PLACES of ENTERTAINMENT in EDINBURGH Part 5
PLACES OF ENTERTAINMENT IN EDINBURGH Part 5 MORNINGSIDE, CRAIGLOCKHART, GORGIE AND DALRY, CORSTORPHINE AND MURRAYFIELD, PILTON, STOCKBRIDGE AND CANONMILLS, ABBEYHILL AND PIERSHILL, DUDDINGSTON, CRAIGMILLAR. ARE CIRCUSES ON THE WAY OUT? Compiled from Edinburgh Theatres, Cinemas and Circuses 1820 – 1963 by George Baird 2 TABLE OF CONTENTS MORNINGSIDE 7 Cinemas: Springvalley Cinema, 12 Springvalley Gardens, 1931; the seven cinemas on the 12 Springvalley Gardens site, 1912 – 1931; The Dominion, Newbattle Terrace, 1938. Theatre: The Church Hill Theatre; decision taken by Edinburgh Town Council in 1963 to convert the former Morningside High Church to a 440 seat theatre. CRAIGLOCKHART 11 Skating and Curling: Craiglockhart Safety Ponds, 1881 and 1935. GORGIE AND DALRY 12 Cinemas: Gorgie Entertainments, Tynecastle Parish Church, 1905; Haymarket Picture House, 90 Dalry Road, 1912 – became Scotia, 1949; Tivoli Picture House, 52 Gorgie Road, 1913 – became New Tivoli Cinema, 1934; Lyceum Cinema, Slateford Road, 1926; Poole’s Roxy, Gorgie Road, 1937. Circus: ‘Buffalo Bill’, Col. Wm. Frederick Cody, Gorgie Road, near Gorgie Station, 1904. Ice Rink: Edinburgh Ice Rink, 53 Haymarket Terrace, 1912. MURRAYFIELD AND CORSTORPHINE 27 Cinema: Astoria, Manse Road, 1930. Circuses: Bertram Mills’, Murrayfield, 1932 and 1938. Roller Skating Rink: American Roller Skating Rink, 1908. Ice Rink: Murrayfield Ice Rink; scheme sanctioned 1938; due to open in September 1939 but building was requisitioned by the Government from 1939 to 1951; opened in 1952. PILTON 39 Cinema: Embassy, Boswall Parkway, Pilton, 1937 3 STOCKBRIDGE AND CANONMILLS 40 St. Stephen Street Site: Anderson’s Ice Rink, opened about 1895;Tivoli Theatre opened on 11th November 1901;The Grand Theatre opened on 10th December 1904;Building used as a Riding Academy prior to the opening of the Grand Picture House on 31st December 1920;The Grand Cinema closed in 1960. -
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 -
'The Neo-Avant-Garde in Modern Scottish Art, And
‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object. -
Glasgow Guide Activities Activities
GLASGOW GUIDE ACTIVITIES ACTIVITIES Glasgow Cathedral George Square A E This beautiful gothic cathedral dedicated to the founder of Glasgow, St. The true pulsating heart of Glasgow. This is the crossroads that will take Mungo, is the number one sight in Glasgow. A must-see withouth a doubt. you to all the sights, the shopping and the city life you're looking for. Cathedral Square, Castle Street, G4 0QZ Glasgow, UK George Square, G2 1 Glasgow City, UK GPS: N55.86286, W4.23499 GPS: N55.86082, W4.25031 Phone: +44 141 552 8198 Sauchiehall Street F One of the best shopping strips in Glasgow, including the huge Sauchiehall The Necropolis B Shopping Centre with quality brands for discount prices. A true City of the Dead. This impressive cemetery overlooks Glasgow from a prominent hill offering beautiful vistas of the city. Sauchiehall St, G2 3 Glasgow City, UK GPS: N55.86474, W4.25986 Cathedral Square 50, G4 0UZ Glasgow, UK Phone: GPS: N55.86226, W4.23128 +44 141 332 0726 Phone: +44 141 552 3145 Merchant City G A trendy and chic neighbourhood of Glasgow, with plenty of activities – Glasgow City Chambers C theatres, shopping, fine dining and lots more. Located in the very heart of Glasgow, the impressive exteriors and interiors of the Chambers should be among every visitor's top few destinations. Saltmarket 87-89, G1 5LE Glasgow, UK GPS: N55.85553, W4.24504 George Square, G2 1DU Glasgow, UK Phone: GPS: N55.86108, W4.24896 +44 141 552 5255 Phone: +44 141 287 2000 People's Palace and Winter Gardens H A thrilling story of Glasgow packed into a beautiful palace. -
Spectacular New Retail/Restaurant Opportunity
SPECTACULAR NEW www.newwaverley.com RETAIL/RESTAURANT OPPORTUNITY THE PAVILION BUILDING SUITABLE FOR A WIDE VARIETY OF USES INCLUDING BAR/RESTAURANT | MICROBREWERY | ART GALLERY AND MANY MORE THE BOOMING EPICENTRE OF EDINBURGH’S EASTERN QUARTER Located in the Old Town the Pavilion Building & Kiosk/Terrace will form the most western part of New Waverley, a signature mixed use development and vibrant new destination. – Prominent corner location – Adjacent to 19 historic arches converted to retail/leisure use available for occupation from October 2015 – Just off the Royal Mile, which attracts over 4 million people annually – Close to Waverley Station with over 26 million passengers annually – I mmediately adjacent edinburgh city council headquarter offices A BRILLIANT, VIBRANT AND BUSTLING NEIGHBOURHOOD In an area awash with life and colour there really is something unexpected and interesting around every corner. Historic sites, visitor attractions, museums and art galleries abound and the Royal Mile and its wynds and closes are peppered with cafés, restaurants, bars and specialty shops. The area is a magnet for tourists and visitors alike and is about to become even better with the arrival of New Waverley, Edinburgh’s exciting new destination. Elevational Treatment © Zone Architects 2013 THE PAVILION BUILDING, ONCE COMPLETE, WILL PROVIDE A GLAZED BUILDING OF MODERN ARCHITECTURAL DESIGN INSPIRATIONAL ARRANGED OVER GROUND AND MEZZANINE LEVELS, PROVIDING A FANTASTIC “FLAGSHIP” OPPORTUNITY FOR THE APPROPRIATE OCCUPIER. THE UPPER LEVEL OF THE PAVILION WILL HOUSE A ONE OFF RETAIL KIOSK WITH TERRACE LOCATED OFF JEFFREY STREET WITH A / LEISURE SPACE VIEWING PLATFORM OVERLOOKING THE CITY TO THE NORTH. PAVILION BUILDING SPECIFICATION GROUND FLOOR (EAST MARKET STREET) 9,235 Sq ft 856 Sq m The design of the pavilion building is flexible at this stage and specific occupational requirements may be able to be incorporated into the building as part of the MEZZANINE / 1ST FLOOR 4,520 Sq ft 420 Sq m construction process. -
Graeme Todd the View from Now Here
GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect. -
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 -
Survival Guide
Edinburgh Festivals SURVIVAL GUIDE Introduction by Alexander McCall Smith INTRODUCTION The original Edinburgh Festival was a wonderful gesture. In 1947, Britain was a dreary and difficult place to live, with the hardships and shortages of the Second World War still very much in evidence. The idea was to promote joyful celebration of the arts that would bring colour and excitement back into daily life. It worked, and the Edinburgh International Festival visitor might find a suitable festival even at the less rapidly became one of the leading arts festivals of obvious times of the year. The Scottish International the world. Edinburgh in the late summer came to be Storytelling Festival, for example, takes place in the synonymous with artistic celebration and sheer joy, shortening days of late October and early November, not just for the people of Edinburgh and Scotland, and, at what might be the coldest, darkest time of the but for everybody. year, there is the remarkable Edinburgh’s Hogmany, But then something rather interesting happened. one of the world’s biggest parties. The Hogmany The city had shown itself to be the ideal place for a celebration and the events that go with it allow many festival, and it was not long before the excitement thousands of people to see the light at the end of and enthusiasm of the International Festival began to winter’s tunnel. spill over into other artistic celebrations. There was How has this happened? At the heart of this the Fringe, the unofficial but highly popular younger is the fact that Edinburgh is, quite simply, one of sibling of the official Festival, but that was just the the most beautiful cities in the world. -
Scottish Art: Then and Now
Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.