DOCSLIB.ORG

The Royal Borough of Kensington and Chelsea

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Royal Borough of Kensington and Chelsea THE ROYAL BOROUGH OF KENSINGTON AND CHELSEA BOROUGH MILLENNIUM COMMITTEE - 6 MARCH 2000 ENVIRONMENTAL HEALTH AND LEISURE COMMITTEE - 9 MARCH 2000 REPORT BY THE EXECUTIVE DIRECTOR OF EDUCATION AND LIBRARIES MILLENNIUM BRONZE EXHIBITION: HOLLAND PARK This report updates the Millennium Committee and the Environmental Health and Leisure Committee on the current status of the Bronze Exhibition. FOR INFORMATION 1. OPENING 1.1 The exhibition will be officially launched on Monday 3 April. There will be a reception from 12.00-1.30 in a marquee on the Orangery Lawn. The marquee will have its open side looking out onto the Pye Fountain. 1.2 The opening ceremony will be performed by Professor Phillip King, C.B.E., President of the Royal Academy. 1.3 The Committee may like to note that one exhibit by Randall-Page will not be in situ by the launch of the exhibition due to a delay at his foundry. This work is due to arrive later in April. 2. SCULPTORS AND EXHIBITS 2.1 The final number of works in the exhibition has been closed at thirty. A list of sculptors and descriptions of their exhibits is attached in Appendix G. The Committee has before them a map showing the position of works around the park. 2.2 Sculpture at Goodwood as partners in the exhibition have provided twelve of the works. Other works have been enabled by foundries, agents and by loans from the Scottish National Gallery of Modern Art and the Yorkshire Sculpture Park. Fabrication of one work, “Tortoises with Triangle and Time” by Wendy Taylor has been made with the help of the Royal Borough and Sculpture at Goodwood. If this work is sold the Royal Borough would receive back its initial investment for fabrication and have a percentage interest in profit from the selling price. 2.3 An agreement which can be used for other works if they are sold has been drawn up by the Curator. In general, the Royal Borough would receive a percentage of the sale price of any work after the fabrication price has been deducted. 3. TRANSPORT AND INSTALLATION 3.1 Transport Works are being transported by Mtec Limited, a leading specialist sculpture transporter. To date there have been no major problems with the transportation of works. The majority of works have now been delivered. 3.2 Installation Installation is being managed by the Parks Service. The installation schedule was staggered between mid-February and March to allow for the preparation of each site. This work involved ground preparation, the fabrication of bases and stands and the supply of electricity and water where required. The site work is being undertaken by contractors under supervision of the Parks Service. At the end of the exhibition all bases will be removed and the grounds returned to their original state. Information plaques are being produced to place next to each work. 4. INSURANCE 4.1 Insurance has been arranged through the Borough’s Insurance Section. 5. EXHIBITION OFFICE 5.1 In a collaborative project between the Royal Borough and the School of Architecture and Design at the Royal College of Art, M.A. architecture students were asked to provide a design for an exhibition office. 5.2 The students were given a brief outlining the uses to which the structure would be put, maximum dimensions, and cost. A specific site was identified in the park. The site is indicated to Committee on the map. 5.3 A model and plans of the most practical proposal is displayed here for Committee. This met the criteria set for the project and has the practical benefit of being fabricated before being delivered and then lowered into place, without entailing a great deal of on-site work. 5.4 The office will have an electricity supply and telephone lines. A screen will be in place which will display information about the exhibition and give internet access to a website about the exhibition and a link to the Sculpture at Goodwood website. 5.5 The structure has been designed to enable it to be easily removed and utilised by the Royal Borough in another capacity following the exhibition. 6. CATALOGUE AND PUBLICITY MATERIAL 2 6.1 The material produced for publicity and promotion of the exhibition has been designed by the company used by Sculpture at Goodwood. These designers are specialists in producing material involving large works of sculpture. 6.2 In summary the catalogue will consist of: Foreword by the Chairman of the Millennium Committee Introduction: Wilfred and Jeannette Cass Article on Sculpture by Professor Norbert Lynton Sculpture and Culture in Holland Park by Louise Vaughan Article on bronze casting and techniques by Ann Elliott Text on sculptors and works in the exhibition Article on Sculpture at Goodwood by Ann Elliott The Friends of Holland Park Acknowledgements Size: 237 x 170 mm Cover: Softback, folded inwards, 100mm flaps perfect binding Pages: 176 150gsm Colour illustrations: 45 Black and White Illustrations: 40 maximum Each work will be photographed in situ in the Park as this catalogue will become a work of record in perpetuity for the exhibition. 6.3 An initial print run of 5000 has been set. The catalogue will be sold for £10. As all works will not be in situ to be photographed by launch day, the catalogue will not be available until later in April. 6.4 A copy of the poster, leaflet and map will be laid round for the Committee to view. 7. ASSOCIATED EVENTS 7.1 A programme of continuous promotion will be required for this project as it will be in situ for a year. 7.2 An educational project involving Borough schools is being prepared and there will be a year round series of guided tours of the works. 7.3 Merchandise associated with the exhibition and with the Borough Millennium Celebrations will be on sale from the office. 3 7.4 A press release, Appendix H, has been prepared and is with the Press Office. FOR INFORMATION ROGER WOOD Executive Director, Education and Libraries Background papers None. BMC.0003.JMcE. 4 APPENDIX 1 “BRONZE” - LIST OF WORKS Work Sculptor Medium Enabled by/on loan from Bronze head of the Stairs 2000 Ivor Abrahams bronze The artist Cochlea 1999/00 Edward Allington, bronze Sculpture @ Goodwood Both Arms 2000 Kenneth Armitage bronze The artist Horse Power 1999 Zadok Ben David, bronze & painted Sculpture @ Goodwood steel Back to the Beginning 2000 Jon Buck bronze Pangolin Editions Annunciation 1999/00 Andrew Burton bronze & granite Sculpture @ Goodwood Stairs 1991 Lynn Chadwick bronze The artist Head 1997 John Davies bronze Sculpture @ Goodwood John Bull 1999 Laura Ford bronze, painted and Sculpture @ Goodwood boulder The Two of us 1997-98 Steven Gregory bronze Sculpture @ Goodwood Caesura VI 2000 Charles Hadcock bronze Nautilus “The Now” 2000 Nigel Hall bronze (2 sections) Sculpture @ Goodwood Walking Man 1998 Sean Henry bronze, oil paint, steel The artist Mr. Fox and Mr. Crow 1995-99 Nicola Hicks bronze The artist, courtesy Flowers East Sun’s Roots 2000 Phillip King bronze Sculpture @ Goodwood Cyclops 2000 Bryan Kneale bronze coated steel The artist The Sense of Sight 1999 Christopher Le Brun bronze The artist, courtesy Marlborough Fine Art (London) Ltd. Journey II 19XX Charlotte Mayer bronze Pangolin Editions Spatial Diagram 1993-94 Dhruva Mistry bronze The artist, courtesy the Yorkshire Sculpture Park Pyramid, Sphere and Cube 2000 David Nash bronze The artist, courtesy Pangolin Editions Space Emptied Out 1994 Eilis O’Connell stainless steel, corten Sculpture @ Goodwood steel and bronze Master of the Universe Eduardo Paolozzi bronze National Galleries of Scotland Kanagawa 2000 William Pye bronze Nautilus xxxxxxx 2000 Randall-Page bronze The artist, courtesy Pangolin Editions The Queen of the Night 1997-99 Michael Sandle bronze Sculpture @ Goodwood Stefano 1997 Keir Smith bronze Sculpture @ Goodwood Tortoises with Triangle and Wendy Taylor bronze Tortoises enabled by Sculpture Time 2000 @ Goodwood Frenhofer 1997 William Tucker bronze Sculpture @ Goodwood 2 Girls from 1908 (after Glynn Williams bronze The artist, courtesy Bernard Picasso) 19XX Jacobson Gallery 5 Natural History 2000 Bill Woodrow bronze A. B. Fine Art Foundry Ltd. 6 PRESS RELEASE Bronze: Millennium Exhibition of Contemporary British Sculpture in Holland Park, April 2000 - 31 March 2001 The exhibition has been organised by the Council’s Millennium Committee, chaired by Councillor Bryan P. Levitt, as part of the Borough’s millennium celebrations. It will consist of 30 bronze works by leading sculptors, some of them specially commissioned. Ann Elliott, an associate curator of Sculpture at Goodwood, is the curator of the exhibition. The exhibition is funded by the Council, with generous support from Sculpture at Goodwood and a number of foundries. It will be a significant contribution to the presentation of contemporary sculpture with works from new and established sculptors. Previous major sculpture exhibitions in Holland Park in the 1950s and 1960s were confined to a small area. However, these Millennium works of contemporary sculpture are distributed over the whole of the park so each can be enjoyed against an appropriate naturalistic setting. The artists whose work will be shown are: Ivor Abrahams, Edward Allington, Kenneth Armitage, Zadok Ben-David, Jon Buck, Andrew Burton, Lynn Chadwick, John Davies, Laura Ford, Steven Gregory, Charles Hadcock, Nigel Hall, Sean Henry, Nicola Hicks, Phillip King, Bryan Kneale, Christopher Le Brun, Charlotte Mayer, Dhruva Mistry, David Nash, Eilis O’Connell, William Pye, Peter Randall-Page, Michael Sandle, Keir Smith, Wendy Taylor, William Tucker, Glynn Williams, Bill Woodrow. The Scottish National Gallery of Modern Art has also generously agreed to loan Eduardo Paolozzi’s Master of the Universe for the exhibition . 7.
Load more

Recommended publications
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • A Changed World Joseph Paul Cassar
    FirstSnail by Edward Allington. A Changed World Joseph Paul Cassar A Changed World is an exhibition brought people in the medical fieldand other disciplines about through the initiative and assistance of complain that they cannot keep up with the lat­ the British Council in Malta, and it focuses on est developments in their respective areas and the various transformations that many are those who are uneasy and suspicious British sculpture has undergone that change is out of control. over the past 40 years. It presents We live in a world ofobjects and commodities the concept of change as the that have been designed for instant death. It is process by which the future clear now that the acceleration of change has invades our lives, for change is reached such a rapid pace that it is possible ongoing without which time to open your eyes one morning to see a world would stop. totally new. The exhibition is about the In my opinion, the whole point of this exhi­ fantastic intrusion of novelty bition is that in the past one rarely saw a fun­ and newness into our exis­ damental change in an art style within a tence. This is the story of how man's lifetime. A style or school endured as we learn to adapt - or fail to a rule, for generations at a time. Today, the adapt - to the future. Each pace of turnover in art scarcely has time to change brings with it a need for new learning, forin us, there (Continued on opposite page) is the power to shape change.
    [Show full text]
  • Alison Wilding
    !"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New
    [Show full text]
  • British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
    British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Expanding the Field: How the “New Sculpture” put British Art on the Map in the 1980s, Nick Baker Expanding the Field: How the “New Sculpture” put British Art on the Map in the 1980s Nick Baker Abstract This paper shows that sculptors attracted much of the attention that was paid to emerging British artists during the 1980s.
    [Show full text]
  • (Public Pack)Agenda Document for Art Galleries Committee, 17/02/2021
    Public Document Pack Art Galleries Committee Date: Wednesday, 17 February 2021 Time: 9.30 am Venue: Virtual meeting – https://vimeo.com/509986438 Everyone is welcome to attend this committee meeting. The Local Authorities and Police and Crime Panels (Coronavirus) (Flexibility of Local Authority and Police and Crime Panel Meetings) (England and Wales) Regulations 2020. Under the provisions of these regulations the location where a meeting is held can include reference to more than one place including electronic, digital or virtual locations such as Internet locations, web addresses or conference call telephone numbers. To attend this meeting it can be watched live as a webcast. The recording of the webcast will also be available for viewing after the meeting has ended. Membership of the Art Galleries Committee Councillors - Akbar, Bridges, Craig, Leech, Leese, N Murphy, Ollerhead, Rahman, Richards and Stogia Art Galleries Committee Agenda 1. Urgent Business To consider any items which the Chair has agreed to have submitted as urgent. 2. Appeals To consider any appeals from the public against refusal to allow inspection of background documents and/or the inclusion of items in the confidential part of the agenda. 3. Interests To allow Members an opportunity to [a] declare any personal, prejudicial or disclosable pecuniary interests they might have in any items which appear on this agenda; and [b] record any items from which they are precluded from voting as a result of Council Tax/Council rent arrears; [c] the existence and nature of party whipping arrangements in respect of any item to be considered at this meeting. Members with a personal interest should declare that at the start of the item under consideration.
    [Show full text]
  • Slade Print Fair 28 - 30 November 2013 Slade Print Fair Participating Artists
    Slade Print Fair 28 - 30 November 2013 Slade Print Fair Participating Artists Invited Artists Melanie Jackson Malgorzata Bany Phyllida Barlow James Keith Beatrice Bonafini David Batchelor Olivia Mills Jennifer Caroline Campbell Bernard Cohen Lisa Milroy Sarah Cameron Dan Coombs Sharon Morris Olga Cerkasova Phil Coy Jayne Parker Kanad Chakrabarti Michael Craig-Martin Kieren Reed Lea Collet Angela de la Cruz Liz Rideal Nuno Direitinho Richard Deacon Karin Ruggaber Robbie Fife Marcia Farquhar Jon Thomson Sarah Fortais Laura Ford (Thomson & Craighead) Lyndsey Gilmour Kirsten Glass Andrew Stahl Eva Maria Gisler Tim Head Estelle Thompson Mariana Gomes Goncalves Susan Hiller Jo Volley Rachel Haines John Hilliard Emily Hawes Tess Jaray Slade Alumni May Heek Stanley Jones Larry Achiampong Benjamin Heiken Hew Locke Dana Ariel Kendall Helland Bruce McLean Michelle Avison Lori Ho Julian Opie Ben Barbour TJ Hwang Paula Rego Sarah Bowker-Jones Yulia Iosilzon Bartolomeu dos Santos Anna Bunting-Branch Robin Jung Hun Kang Sarah Staton Claire Dorsett Lauren Keeley Preecha Thaothong Nicolas Feldmeyer Sarai Kirshner Amikam Toren Lauren Godfrey Anna Klimentchenko Panya Vijinthanasarn Henningham Family Press Olga Koroleva Alison Wilding Do Kyoung Kim Nektaria Lampitsi Paul Winstanley Nadine Mahoney Sanna Linell Janne Malmros Rebecca Loweth Slade Staff Lui Medina Julia McKinlay Edward Allington Rory McCartney Anja Olofgörs John Bremner Ignacia Mesa Maria Teresa Ortoleva David Christopher Eleanor Morgan Harriet Poznansky Susan Collins Carl Randall Ruaidhri Ryan Benedict Drew Ryan Riddington Noga Shatz Simon Faithfull Alida Rodrigues Naomi Siderfin Mick Farrell Daniela Sarigu Henrietta Simson Lilah Fowler Alaena Turner Eiko Soga Judith Goddard Julia Vogl Vasilina-Elpida Svoronou Dryden Goodwin Sarah West Tara Tate Grace Hailstone Slade Students Danielle Tay Klaas Hoek Simon Barkworth Bønne og Uglen www.ucl.ac.uk/slade/printfair .
    [Show full text]
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: interviews complete and in-progress (at July 2015) Please note: access to each recording is determined by a signed RecordinG AGreement, aGreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and MovinG ImaGe catalogue: http://sami.bl.uk . EILEEN AGAR FRANK BOWLING MILEIN COSMAN IVOR ABRAHAMS ALAN BOWNESS STEPHEN COX NORMAN ACKROYD IAN BREAKWELL TONY CRAGG NORMAN ADAMS GUY BRETT MICHAEL CRAIG-MARTIN ANNA ADAMS STUART BRISLEY JOHN CRAXTON CRAIGIE AITCHISON RALPH BROWN DENNIS CREFFIELD EDWARD ALLINGTON ANNE BUCHANAN CROSBY KEITH CRITCHLOW ALEXANDER ANTRIM STEPHEN BUCKLEY VICTORIA CROWE RASHEED ARAEEN ROD BUGG KEN CURRIE EDWARD ARDIZZONE LAURENCE BURT PENELOPE CURTIS DIANA ARMFIELD ROSEMARY BUTLER SIMON CUTTS KENNETH ARMITAGE JOHN BYRNE ALAN DAVIE MARIT ASCHAN SHIRLEY CAMERON DINORA DAVIES-REES FRANK AVRAY WILSON KEN CAMPBELL AILIAN DAY GILLIAN AYRES STEVEN CAMPBELL PETER DE FRANCIA WILLIAM BAILLIE CHARLES CAREY ROGER DE GREY PHYLLIDA BARLOW NANCY CARLINE JOSEFINA DE WILHELMINA BARNS- ANTHONY CARO VASCONCELLOS GRAHAM FRANCIS CARR TONI DEL RENZIO WENDY BARON B.A.R CARTER RICHARD DEMARCO GLENYS BARTON SEBASTIAN CARTER ROBYN DENNY
    [Show full text]
  • Tate Report 2018–2019
    TATE ANNUAL REPORT 2018/19 CONTENTS 3 CHAIRMAN’S FOREWORD 43 EXHIBITIONS 44 Tate Britain 4 INTRODUCTION 49 Tate Modern 54 Tate Liverpool 5 OUR VISION 58 Tate St Ives 62 Other venues 6 TATE’S FIVE–YEAR OBJECTIVES 71 FACTS AND FIGURES 7 HIGHLIGHTS 77 ACQUISITIONS HIGHLIGHTS 8 PROGRAMME 16 The collection 116 OUR SUPPORTERS 21 Partnerships 26 Audiences 31 Learning and research 35 People and culture 37 Estates and infrastructure 39 Business model 2 CHAIRMAN’S FOREWORD Tate’s Board of Trustees As at 31 March 2019 Tate displayed and shared exceptional art in 2018/19, and I mention Lionel Barber (Chairman) a small selection only. At Tate Britain, Don McCullin’s photography show John Akomfrah, CBE John Booth offered a moving testament of war and socio-economic decay in post- Tim Davie, CBE Dame Jayne-Anne Gadhia, DBE war Britain, to critical and public acclaim. At Tate Modern, exhibitions Dame Moya Greene, DBE Katrin Henkel by Anni Albers and Pablo Picasso, combining works from public and Anna Lowe Michael Lynton private collections, drew hundreds of thousands of visitors. Three Dame Seona Reid, DBE Roland Rudd solo exhibitions by international women artists opened at the newly James Timpson, OBE Jane Wilson expanded Tate St Ives. At Tate Liverpool, the photographs of Francesca Stephen Witherford Woodman were shown alongside the work of Egon Schiele. We also sent more than 1,500 works of art around the world, working with new partners in Asia and Latin America. Tate has enjoyed another highly successful year, with record-breaking exhibitions, innovative art and ambitious My fellow Trustees and I are immensely proud of Tate’s skilled and public programmes which have inspired millions of visitors.
    [Show full text]
  • Edward Allington (1951-2017)
    Edward Allington (1951-2017) A J.A. Prestwich (JAP) engine leans in a corner inside the front door, it’s probably a 125cc single much favoured by speedway riders. It has a typically long stroke. This is the door to the house of the sculptor Edward Allington who recently died age 66 on 21 September. Edward is best known for his part in the 1980’s ‘New British Sculpture’, emerging alongside artists, Richard Deacon, Bill Woodrow, Tony Cragg, Anthony Gormley, Anish Kapoor and Jean-Luc Vilmouth. His work at the time was typified by the series of exuberantly abundant ‘cornucopia’ sculptures as seen in Objects and Sculpture (1981) Arnolfini, Bristol and ICA, London and The Sculpture Show (1983) Hayward Gallery, London. In 1983 he had his first exhibition at the Lisson Gallery. Numerous exhibitions and commissions were to follow in UK and worldwide, particularly in USA, Germany and Japan. He is represented in major public, private and corporate collections, including the Arts Council, Tate Gallery, the Victoria and Albert Museum, The British Museum, Leeds Art Gallery and the Henry Moore Institute. Edward had first studied at Lancaster College of Art 1968-71 followed by Ceramics at the Central School of Art and Design 1971-74 and then Cultural Studies at the Royal College of Art 1983-84. By this time he was already well grounded in the aesthetics and forms of Classical Greece yet not so apparent was a fascination with Japanese aesthetics, both ancient and modern. Although many materials were appearing in the sculpture, at the core of the making process remained modelling and casting.
    [Show full text]
  • To Download Contemporary Art Society's Acquisitions & Art
    Acquisitions & Art Consultancy Contemporary Art Society Acquisitions & Art Consultancy APRIL 2019–MARCH 2021 Contemporary Art Society Contents 59 Central Street, London EC1V 3AF Tel: +44 (0)20 7017 8400 Email: [email protected] Website: contemporaryartsociety.org Foreword 4 Follow us on social media Future Fund 8 /thecontemporaryartsociety Museums Receiving Artworks 9 contemporaryartsociety @ContempArtSoc Map of Museum Members 10 Every effort has been made to contact all copyright holders. If proper acknowledgement has not been made, Special Projects please contact the Contemporary Art Society. All rights reserved. No part of this publication may be reproduced, — Great Works 14 stored in a retrieval system or transmitted in any form — Rapid Response Fund 16 or by any means, electronical, mechanical or otherwise, — Collections Fund at Frieze 56 without first seeking the written permission of the copyright holders and of the Contemporary Art Society. — Partnership with Henry Moore Foundation & Cathy Wills 62 Images cannot be reproduced without prior permission — Art Night 66 from the Contemporary Art Society. — Valeria Napoleone XX Contemporary Art Society 68 Date of publication: June 2021 Edited by Marcus Crofton, Caroline Douglas, Jordan — Jackson Tang Ceramic Award 74 Kaplan, Fabienne Nicholas, Christine Takengny, Uma Karavadra and Jessica Lowe-Mbirimi Designed by Hyperkit Acquisitions Scheme Cover image: Alexandra Bircken, The Doctor, 2020. — Fine Art 81 Steelbase, mannequin, fabric, wadding, thread, metal, prosthesis, wood and boat model. — Omega Fund 143 183 x 62 x 60 cm © Courtesy of the artist and Herald St, London Gifts & Bequests 167 Art Consultancy 191 In Memory 200 Supporters & Patrons 201 Art Consultancy Clients 204 Trustees & Staff 205 Index of Artists 206 Image Credits 207 In recent years we have published our Acquisitions book to coincide with our annual dinner.
    [Show full text]
  • Alison Wilding
    This document was updated 1 June 2021 for reference only and not for purposes of publication. For more information, please contact [email protected] Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley 1966–67 Nottingham College of Art, Nottingham Selected solo exhibitions 2021 Mesmer, Again, Room 2 at Karsten Schubert London, UK 2020 Doors Closing, Doors Opening, Betty Cuningham Gallery, New York, Online Exhibition Alison Wilding: Drawings, Karsten Schubert London, Online Viewing Room 2019 Alison Wilding: On the Edge, Jesus College, Cambridge, UK 2018 Alison Wilding: Right Here and Out There, De La Warr Pavilion, Bexhill On Sea, UK Alison Wilding, Whitworth Art Gallery, Manchester, UK Alison Wilding, Arena, Leeds Art Gallery, Leeds, UK 2017 Acanthus, Asymmetrically, Offer Waterman, London, UK 2016 Alison Wilding, Arena Redux, Art House Foundation, London, UK 2013 Alison Wilding, Duveen Galleries, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding,
    [Show full text]
  • Making It: Sculpture in Britain 1977-1986 Education Information Pack
    Making It: Making It: Sculpture in Britain 1977-1986 Education information pack www.artscouncilcollection.org.uk twitter: @A_C_Collection Contents Page How to use this pack 2 The Arts Council Collection 2 Introduction to the exhibition 3 The exhibition in context 4 Artists and works in the exhibition 7 What is sculpture? 40 In the gallery – looking at the exhibition 42 Exhibition themes and project ideas: Sites and spaces 45 Material qualities 47 The crafted surface 49 Transforming the ordinary 52 Symbolic objects 54 Making stories 56 The urban and natural worlds 58 The human form 60 1 How to use this pack This pack is designed for use by teachers and other educators including gallery education staff. It provides background information about the Making It: Sculpture in Britain 1977-1986 exhibition and the exhibiting artists, a description of techniques and processes used to make sculpture and a selection of project ideas around some key themes. Although written primarily to accompany the exhibition, it can also serve as a stand-alone resource on sculpture in the 1970s and 1980s. The project suggestions may form part of a project before, during, or after a visit to see the exhibition. Informed by current National Curriculum requirements and Ofsted guidance, they are targeted primarily at Key Stage 2 and 3 pupils, though could also be adapted for older or younger pupils. Information in the pack will also prove useful for pupils undertaking GCSE and ‘A’ level projects. This education information pack is intended as a private resource, to be used for educational purposes only.
    [Show full text]