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Contemporary Art Society Annual Report 1993
THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period. -
CV Born 1966, Folkestone, UK. Lives and Works In
Jyll Bradley - CV Born 1966, Folkestone, UK. Lives and works in London Education 1985-1988 Goldsmiths’ College, University of London. BA (Hons) Fine Art 1991-1993 Slade School of Art, University of London. Higher Diploma, Fine Art (Media) Selected Solo Exhibitions and Projects 2019 ‘Currency/Dial (for K&M)’ Private Commission, London, UK 2019 ‘Currency/Dial (for C&A)’ Private Commission, Mallorca, Spain 2019 ‘Opening the Air and Other Stories’, HS Projects, Howick Place, London, UK 2019 ‘Dutch/Light (for Agneta Block)’, Sculpture in the City, London, UK 2018 ‘Opening the Air’, Sculpture in the City, London, UK. Commissioned by City of London. 2017-18 ‘Dutch/Light (for Agneta Block)’ Turner Contemporary, Margate, UK Curated by Victoria Pomery and Sarah Martin 2017 ‘Green/Shade’ Riverside projects, Hull, UK 2017 ‘Brigitte’, Strange Cargo, Cheriton, UK. Curated by Strangelove Festival 2016 ‘Currency’, L’etrangere, London UK. Curated by Joseph Constable 2015 'Le Jardin hospitalier', Hopital Roger Salangro, CHRU, Lille, France. Commissioned and Produced by Amanda Crabtree, artconnexion, Lille, France. 2014 'The friend I have/is a passionate friend', Mummery+Schnelle, London, UK. Curated by Gill Hedley. 2013 'City of Trees', The National Library of Australia, Canberra, Australia. Produced by Canberra 100 (The Centenary of Canberra). 2012 'Lovers, neighbours, friends', artconnexion, Lille, France. Curated by Amanda Crabtree. 2011 'Airports for the Lights, Shadows and Particles' the Bluecoat, Liverpool, UK. Curated by Sara-Jayne Parsons. 2010 'Naming Spaces' Newlyn Art Gallery (The Exchange), Penzance, UK. Curated by Blair Todd. 2008 'The Botanic Garden' The Walker Art Gallery, Liverpool, UK. Project commissioned for Liverpool European Capital of Culture. -
An Exhibition of Conceptual Art
THE MUSEUM OF ME (MoMe) An Exhibition of Conceptual Art by Heidi Ellis Overhill A thesis exhibition presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Fine Arts in Studio Art East Campus Hall Gallery of the University of Waterloo April 13 to April 24, 2009 Waterloo, Ontario, Canada, 2009. ©Heidi Overhill 2009 i Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54870-7 Our file Notre référence ISBN: 978-0-494-54870-7 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
Aftershock: the Ethics of Contemporary Transgressive
HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death. -
Stephen Snoddy
Stephen Snoddy During his precocious student years at Belfast College of Art, Stephen Snoddy never stopped painting. Driven by a powerful urge to explore and define his own vision of the world, this energetic young man produced an impressive body of work. It eventually ensured that he graduated with an MA in 1983, but within 4 years Snoddy put down his brushes. He did not pick them up again for over 20 years, and pursued instead a distinguished career as the director of maJor galleries across Britain. All the creative dynamism which had fuelled his youthful paintings became channelled into curating ambitious exhibitions and building collections. Then, quite suddenly, he experienced a mind-altering revelation. In 2012 his mother gave him a book (8 x 8) containing the series of 64 monoprints he had made way back in 1981 which had been produced serially over a few days. Monoprints differ from editioned prints in that only one impression is taken from a plate; reusing the plate for multiple unique prints allowed Snoddy to incorporate the erasures, palimpsests, and ghosts of previous explorations into subsequent work that became 8 sets of 8 monoprints. Leafing through these exuberant images, all of which had retained their original freshness, Snoddy felt overwhelmed and galvanised. The vision he had managed to develop as a student stirred his imagination once again. The sensuous monoprints made him determined to recover this creative impulse and pursue it further. So he began looking objectively back through slides of all his student paintings, rediscovering the sheer intensity which had driven him to produce such a prolific outpouring of early work. -
The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. -
British Art Studies September 2019 London, Asia, Exhibitions, Histories
British Art Studies September 2019 London, Asia, Exhibitions, Histories Edited by Hammad Nasar and Sarah Victoria Turner British Art Studies Issue 13, published 30 September 2019 London, Asia, Exhibitions, Histories Edited by Hammad Nasar and Sarah Victoria Turner Cover image: Rubber shavings made during Bettina Fung's performance of "Towards All or Nothing (In Memory of Li Yuan-chia)" at Manchester Art Gallery, 6 March 2019.. Digital image courtesy of Bettina Fung. 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 Curating the Cosmopolis, Iwona Blazwick and Rattanamol Singh Johal Curating the Cosmopolis Iwona Blazwick and Rattanamol Singh Johal Abstract Century City: Art and Culture in the Modern Metropolis was the first temporary exhibition mounted at Tate Modern from February to April 2001. -
National Portrait Gallery Account 2002-2003
MUSEUMS AND GALLERIES ACT 1992 Account, of the National Portrait Gallery prepared pursuant to Act 1992, c.44, para 9(7) for the year ended 31 March 2003, together with the Report of the Comptroller and Auditor General thereon. (In continuation of House of Commons Paper No. 1138 of 2001-2002.) Presented pursuant to Museums and Galleries Act 1992, c. 44, para. 9(8). National Portrait Gallery Account 2002-2003 ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 16 JULY 2003 LONDON: The Stationery Office 30 October 2003 HC 1019 £8.50 The National Audit Office scrutinises public spending on behalf of Parliament. The Comptroller and Auditor General, Sir John Bourn, is an Officer of the House of Commons. He is the head of the National Audit Office, which employs some 800 staff. He, and the National Audit Office, are totally independent of Government. He certifies the accounts of all Government departments and a wide range of other public sector bodies; and he has statutory authority to report to Parliament on the economy, efficiency and effectiveness with which departments and other bodies have used their resources. Our work saves the taxpayer millions of pounds every year. At least £8 for every £1 spent running the Office. This account can be found on the National Audit Office web site at www.nao.gov.uk National Portrait Gallery Account 2002-2003 Contents Page Foreword and Annual Report 2 Annex to the Foreword 12 Statement of Trustees’ and Directors’ responsibilities 13 Statement on Internal Control 14 The Certificate and Report of the Comptroller and Auditor General 15 Summary Income and Expenditure Account 17 Statement of Financial Activities 18 Balance Sheet 20 Cash Flow Statement 21 Notes to the Accounts 22 1 National Portrait Gallery Account 2002-2003 Foreword and Annual Report Status The Museums and Galleries Act 1992 established the corporate status of the Board of Trustees of the National Portrait Gallery. -
Michael Landy Selected Biography Born in London, 1963 Lives And
Michael Landy Selected Biography Born in London, 1963 Lives and works in London, UK 1985-88, Goldsmith's College Solo Exhibitions 2015 Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam Three-piece, Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia H.2.N.Y, Alexander and Bonin, New York 2004 Welcome To My World built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, London, UK 2000 Handjobs (with Gillian Wearing), Approach Gallery, London, UK 1999 Michael Landy at Home, 7 Fashion Street, London, UK 1996 The Making of Scrapheap Services, Waddington Galleries, London, UK Scrapheap Services, Chisenhale Gallery, London; Electric Press Building, Leeds, UK (organised by the HenryMoore -
State 17QUN Layout 1
FREE 17 | HOT&COOL ART SETTING THE PACE ROBERT FRASER BRIAN CLARKE 2014 BRIAN CLARKE ADVENTURES IN ART DAFYDD JONES KLAUS STAUDT LIGHT AND TRANSCENDENCE ams Trust Albert Ad © , Acrylic on canvas, 127 x 114cm , Acrylic on canvas, The Captive image: Klaus Staudt (b. 1932 Otterndorf am Main, Germany) 1/723 SG 86, Diagonal, 1992, Acrylic, wood and plexiglas, 76.5 x 76.5 x 7.5 cm, 30 1/8 x 30 1/8 x 3 inches ALBERT ADAMS (1930 – 2006) PAINTINGS AND ETCHINGS THE MAYOR GALLERY %46-0ď 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ 30 May – 10 July 2015 UNIVERSITY GALLERY Northumbria University Sandyford Road Newcastle upon Tyne NE1 8ST TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 T: 0191 227 4424 E: [email protected] www.universitygallery.co.uk [email protected] www.mayorgallery.com 29 MAY 2015 CHARLIE SMITH london Anti-Social Realism Curated by Juan Bolivar & John Stark 3 April – 9 May 2015 Dominic Shepherd 15 May – 20 June 2015 Emma Bennett 26 June – 25 July 2015 336 Old Street, London EC1V 9DR, United Kingdom +44 (0)20 7739 4055 | [email protected] www.charliesmithlondon.com | @CHARLIESMITHldn Wednesday–Saturday 11am–6pm or by appointment Emma Bennett, ‘Tender Visiting’, 2014 Oil on canvas 50x40cm Visiting’, Emma Bennett, ‘Tender DIARY NOTES COVER IMAGE DAFYDD JONES Brian Clarke, 2015 Photographed at Pace Gallery Burlington Gardens London FOOLS RUSH IN Brian Clarke added curating to his many talents when he agreed The FRANCIS BACON MB Art Foundation, established by Majid Boustany and based in to produce a tribute to his former agent, gallerist and friend, Robert Fraser.