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SSAH Journal 2006 - Art, Art History & Research in Dundee
SSAH Journal 2006 - Art, Art History & Research in Dundee Dr Ailsa Boyd JOURNAL OF THE SCOTTISH SOCIETY FOR ART HISTORY VOLUME XI 2006 CALL FOR PAPERS The 2006 edition of the Journal of the Scottish Society for Art History will be focused on the City of Dundee and will be guest-edited by Matthew Jarron, Curator of Museum Services at the University of Dundee. There will be two main themes to this special issue: 1) Art in Dundee We welcome any paper exploring the history of art in Dundee. This might be focused on the work of a specific artist (such as McIntosh Patrick, Alberto Morrocco or David Mach) or an artistic group or collaboration (such as the Dundee Graphic Arts Association or Dalziel + Scullion). We are interested in papers on the development of art exhibitions (from the Victoria Galleries to DCA), aspects of art education (from the Watt Institute to Duncan of Jordanstone College), art patronage (Orchar, Boyd et al) or of art publishing (the Beano being the most celebrated example!). Some of the papers for this section will be drawn from the conference Art in Dundee 1880-1920 held at the University of Dundee in 2005. We would therefore particularly encourage submissions dealing with subjects outwith this period. 2) Art History & Research in Dundee Dundee is now the only University to host a Chair of the History of Scottish Art and has recently established a Centre for the Study of Modern & Contemporary Scottish Art. We are keen to showcase the research work of art historians, curators and artists based in Dundee, whatever your area of interest. -
DAVID MACH New York, NY 10014
82 Gansevoort Street DAVID MACH New York, NY 10014 p (212) 966-6675 Born 1956, Methil, Fife, Scotland allouchegallery.com Lives and works in London, UK 1974-1979 Duncan of Jordanston College of Art and Design, Dundee, Scotland 1979-1982 Royal Academy of Art, London, UK SELECTED SOLO EXHIBITIONS 2019 The Paper to Prove It, Royal Scottish Academy, Edinburgh, UK 2019 Waves, Newpaper Installation, Chester Cathedral, Chester, UK 2018 Signs of Life, Collaboration Mach/Adesina, Bolee Gallery, London, UK 2018 Rock n’ Roll, Newspaper Installation, Galway, Ireland 2018 Against the Tide, Newspaper Installation, CassArt, Glasgow, UK 2017 First Station Centre, Against the Tide, Outwith Festival, Dunfermline, UK 2017 Mach Goes Commando, Royal Engineers Museum, Gillingham, UK 2017 David Mach, Alternative Facts, Dadiani Fine Art, London, UK 2016 Golgotha, Chester Cathedral, Chester, UK 2016 Mach Goes Commando, Shetlands Art Development Agency, Shetlands, UK 2015 Mach Goes Commando, DLI Museum, Durham, UK 2015 Precious Light, Center of Turin, Italy 2013 Precious Light, Palazzo Frangini, Venice, Italy 2013 David Mach, New Works, Forum Gallery, New York, NY 2012 Mach-Mania: The David Mach Show, Opera Gallery, Hong Kong 2012 David Mach-Precious Light, Galway, Ireland 2011 David Mach-Precious Light, City Arts Centre, Edinburgh, UK 2010 Iconography, Opera Gallery, London, UK 2009 Mach, Opera Gallery, Geneva, Switzerland 2008 Breaking Images, The Cat Street Gallery, Hong Kong 2008 Size Doesn’t Matter, Art Center de Vishal, Haarlem, The Netherlands 2007 David -
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CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. -
EWVA 4Th Full Proofxx.Pdf (9.446Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-04 Ewva European Women's Video Art in The 70sand 80s http://hdl.handle.net/10026.1/16391 JOHN LIBBEY PUBLISHING All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. EWVA EuropeanPROOF Women’s Video Art in the 70s and 80s do not distribute PROOF do not distribute Cover image: Lydia Schouten, The lone ranger, lost in the jungle of erotic desire, 1981, still from video. Courtesy of the artist. EWVA European Women’s PROOF Video Art in the 70s and 80s Edited by do Laura Leuzzi, Elaine Shemiltnot and Stephen Partridge Proofreading and copyediting by Laura Leuzzi and Alexandra Ross Photo editing by Laura Leuzzi anddistribute Adam Lockhart EWVA | European Women's Video Art in the 70s and 80s iv British Library Cataloguing in Publication Data EWVA European Women’s Video Art in the 70s and 80s A catalogue entry for this book is available from the British Library ISBN: 9780 86196 734 6 (Hardback) PROOF do not distribute Published by John Libbey Publishing Ltd, 205 Crescent Road, East Barnet, Herts EN4 8SB, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Distributed worldwide by Indiana University Press, Herman B Wells Library – 350, 1320 E. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
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CONTENTS Chairman's Introduction ;,ia :.i . :,•ccountable Secretary-General's Preface 3 t o 6 provide ParhoinL•nl anc public Departmental Report s 15 with an overvie x of t he % .3 }rh and to Scotland record all grants andsfWAr<anLLu offered i n Wales 16 support of the arts. Counci l 17 Membership of Council and Staff 18 A description of the highlights of th e Advisory Panels and Committees 19 Council's work and discussion of its policies Staff 24 appear in the newspaper Arts in 21 r6an Annual Account s 25 which is published in conjunction with this Funds, Exhibitimis, &-he»us and Awards Report and can be obtained, free of charge , from the Arts Council Shop . 8 Long Acre , London WC2 and arts outlets throughou t the country. The objects for which the Arts Council i s established are : 1 To develop and improve the knowledge , understanding and practice of the arts : 2 To'uncrease the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with government departments, local authorities and other bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and Libraries provided an extra £1 million . Opera generally problems which the A r CI ,_,n, i , .1, The development of business sponsorship only partly meet, but the quahrY +-~t th(- has also been very encouraging . Ten years major opera companies' work outsicil u ago, business support for the arts wa s London was still outstanding . running at only £600,006 a year . The figure now stands at £17 million and a furthe r Although we have to make judgements increase is expected in 1985/86, Obviously , between companies, the Arts Council is some of our clients are better able to secur e very conscious that it exists as a servant of local authority or business support than the arts - a difficult role in a period o f others. -
The Joy of Scottish Art; a Study Course with Adrian Sumner
The Joy of Scottish Art; A Study Course with Adrian Sumner From Thursday thethethe 24th ofofof January until thethethe morning ofofof MondMondayayayay thethethe 28th ofofof January 2019 The Green Park Hotel Clunie Bridge Road Pitlochry Perthshire PH16 5JY Tel: 01796 473248 www.thegreenpark.co.uk e-mail - [email protected] The Joy of Scottish Art From Thursday thethethe 24th ofofof January until thethethe morning ofofof Monday thethethe 28th ofofof January 2019 A series of six lectures comprising; * An Outline History of Art in Scotland * Charles Rennie Mackintosh and the Glasgow School * Mackintosh, Arts and Crafts and International Art Nouveau * Modernism, Glasgow Boys and Girls, Colourists, and the Celtic Revival * Contemporary Scottish Art * Great Scottish Collections All illustrated with colour images in Powerpoint presentations. Suitable for all levels of student, plus those who simply love the subject. Thursday thethethe 24th ofofof JanuarJanuaryyyy So as to make the most of your day, please feel free to arrive any time from mid-morning onwards. Complimentary tea, coffee, and biscuits, will be available in the main lounge. 6.00p6.00pmmmm. The first organised activity will be a sherry reception in room 585858 ononon thethethe ground floor ofofof thethethe Tower Wing . This will give you an opportunity to meet your fellow students as well as your tutor Adrian Sumner. From 666.6...30303030pmpmpmpm --- 8.30pm8.30pm.... A four course dinner will be served in the dining room, followed by coffee and shortbread in the lounges. Friday thethethe 25th ofofof January 8.30am --- 9.45am. A full Scottish breakfast will be served in the dining room. -
Interview with Elaine Shemilt
REWIND | Artists’ Video in the 70s & 80s Interview with Elaine Shemilt Interview by Deirdre Mackenna, 1st May 2012 DM: The projects are grouped into community and context process, context and exhibition and critical feedback, which is helpful, but I suspect we will be leaning back and forward. First of all I can start by asking which of the works that you have produced do you consider to be the most important and why? ES: It’s a really difficult question, because I could say that the early work really informs everything that I do now, in a sort of way, but I mean the work weaves in and out, I have this feeling that artists quite often have only one really good idea. You keep rehashing it in any shape or form for the whole of your career, so I don’t really know how to answer. I think its more the mode of working, that semi-performance and the use of the space. I think it’s down to things like using proximities. By that I mean that something to do with the space between the viewer and what they are viewing - that was always very important to me, which is why I went into working with installation, and video was a perfect media for recording events. I didn’t really want performance as such, I wanted somehow to incorporate movement. So your question ‘which was the most important piece of work?’ - I suppose those early videos have informed everything that I do now, in some shape or form. -
David Mach RA 8 Havelock Walk, Forest Hill, London, UK Landline +44(0)2086995659 / Mobile +44(0)7947661500 / [email protected]
David Mach RA 8 Havelock Walk, Forest Hill, London, UK Landline +44(0)2086995659 / Mobile +44(0)7947661500 / [email protected] / www.davidmach.com BIOGRAPHY 1956 Born in Methil, Fife (Scotland) 1974/79 Duncan of Jordanston College of Art, Dundee (Scotland) 1975 Pat Holmes Memorial Prize 1976 Duncan of Drumfork Travelling Scholarship 1977 SED minor travelling scholarship 1978 SED major travelling scholarship 1979/82 Royal College of Art (RCA), London. 1982 RCA Drawing Prize 1988 Nominated for the Turner Prize, Tate Gallery, London 1992 Won Lord Provost’s Award, RGI, Glasgow 1998 Elected Member of the Royal Academy of Arts 1999 Visiting Professor, Sculpture Department, Edinburgh College of Art 2000 Appointed Professor of Sculpture, Royal Academy Schools, London 2002 Honorary Doctor of Laws, University of Dundee University 2004 Made Honorary Member of the Royal Scottish Academy First Visiting Professor of Inspiration and Discovery at the University of Dundee (Scotland) 2006-2010 Elected to the board of the National Portrait Gallery 2011 Bank of Scotland Herald Angel Award 2011 winner for Precious Light 2011 Glenfiddich Spirit of Scotland Award for Art SELECTED PUBLIC ART PROJECTS & COMMISSIONS 2012 The Vinadio “Giants”, VIAPAC Project, Regione Piemonte, Italy 2002 Collage Portrait of Glasgow commissioned by the Museum of Modern Art, Glasgow 2000 Unveiled “Good Guys, Bad Guys” & “Scamble”, sculptures commissioned by Chesterfield Council, UK 1999 Installed “A National Portrait”, a 70m x 3m collage of Britain, commissioned by the NMEC -
Final Thesis Combined.Pdf
Access to Electronic Thesis Author: Saskia Warren Thesis title: Audiencing artscapes: Encounters between art and audience at Yorkshire Sculpture Park Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Audiencing artscapes: Encounters between art and audience at Yorkshire Sculpture Park Saskia Warren Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2011 Department of Geography University of Sheffield Abstract This thesis explores the ways in which the meanings of site art are inscribed by different audiences and their spatially contingent processes of audiencing. Theoretically and empirically it suggests the importance of the verb ‘audiencing’ over the static noun ‘audience’ to activate the dynamic processes involved in the production of art’s meaning. The thesis is based upon qualitative research undertaken over one year spent at Yorkshire Sculpture Park, West Yorkshire. It tailors archival, ethnographic and visual methodologies to address how examples of site art within their spatial context are audienced from a range of roles and positionalities. Audiencing is shown to occur non- linearly, with meaning inscribed variously during the processes of making, installation and exhibiting. Each chapter explores different facets of the relationship between site, art and audience, tracing the histories, discourses and situated knowledges that shape the meanings of the sculpture park and its art. -
The Representation of Association Football in Fine Art in England From
The Representation of Association Football in Fine Art in England From its Origins to the Present Day by Ray Physick A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2013 The Representation of Association Football in Fine Art in England King Kenny by Christine Physick (2011) From its Origins to the Present Day Ray Physick: The Representation of Association Football in Fine Art in England Table of Contents Table of Contents ................................................................................................................... 3 Acknowledgements ................................................................................................................ 4 Abstract ..................................................................................................................................... 5 Preamble ................................................................................................................................... 6 Chapter One: Introduction (part one) ............................................................................... 15 Chapter Two: Introduction (part two) and Literature Review ..................................... 41 Chapter Three: Representations of Football in Art - Origins to 1918 ........................ 76 Chapter Four: Representations of Football in Art – 1918-1945 .................................. 135 Chapter Five: Representations of Football in Art – 1945-1960 ................................. -
DJCAD-Look-Book.Pdf
1 Top in Scotland for Art & Design Complete University Guide 2018 Duncan of Jordanstone At Duncan of JordanstoneCollege of School of Art we believe anArt art & Designschool is more than just a place. An art school is a community and a laboratory. Our business is to encourage creative risk taking, to question boundaries and challenge the conventional.University of Dundee Art School is a place where language is extended and dialogue developed. Art School is a bridge between the acceptable and the possible, between what is and what if. 1 1 Duncan of Jordanstone College of Art & Design 1 1 Duncan of Jordanstone College of Art & Design Why Choose Us? Undergraduate Courses Postgraduate Courses Application Process 12 A Rich & Creative History 38 Overview 88 Animation & VFX 106 Making an 16 The University of Dundee 40 General Foundation 90 Art & Humanities Undergraduate Application 18 A Student City 42 Animation 92 Art, Society & Publics 109 Portfolio Guidelines 20 A Creative & Cultural City 46 Architecture 94 Comics & Graphic Novels 114 Contact Information 22 Degree Show 50 Art & Philosophy 96 Design for Business 24 Entrepreneurial Approach 54 Digital Interaction Design 98 Forensic Art & 26 World-Leading Research 58t Fine Ar Facial Identification 28 Facilities 62 Graphic Design 100 Medical Art 66 Illustration 102 Product Design 1 70 Interior & Environmental Design 74 Jewellery & Metal Design 78 Product Design 82 Textile Design 3 1 5 3 4 2 5 6 3 7 8 9 10 4 Choose Us? Why 11 Section 1 — Why Choose Us? 12 History A Rich 13 Why Choose Us? — A Rich & Creative History 14 & Creative The University of Dundee’s Duncan of Jordanstone College of Art & Design has a rich and creative history spanning over 128 years.