DOCSLIB.ORG

Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988 ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London. In 1988, Freeze displayed the work of artists who became known as the young British artists (‘YBAs’). This dissertation offers a historical framework and a critical account of the concept of the ‘emerging artist’—developed during the intervening forty years—a term typically associated with Freeze and the YBAs. The dissertation offers a corrective to the widely held belief that an interest in young and emerging artists was a new development in the 1980s, by reconnecting the notion with much earlier roots in the 1950s. It also revises the term’s commercial connotation. ‘Emerging artist’ posits something yet to come, and is loaded with suggestions of investment and future value. These traits can be read as imprints of the marketplace. This research demonstrates that a focus on young artists’ work in fact evolved as a result of changes to education and public patronage that occurred during the expansion of the welfare state. The art market contributed to the phenomenon, but did not shape it alone. Alongside the historical account of these institutional changes this dissertation considers the relationship between characteristics associated with the emerging artist and those associated with creativity more generally. Judgments of quality and value are in part made institutionally: an artist’s worth is attested by passage through prestigious educational institutions, exhibition in respected galleries, and collection by public institutions and important individuals. But there remains a conflicting appetite for these artists to be ‘outsiders’, expressed in the discourse which frames and receives them. It is in the ‘emerging artist’ that these competing demands can be reconciled. This analysis concludes by framing the ‘emerging artist’ as a paradigmatic artist, with dual appeal both as institutional ‘insider’ and romantic ‘outsider’. 3 PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 CONTENTS PAGE Abstract 3 Contents 4 Abbreviations 8 Acknowledgments 9 Introduction 10 Research Question 10 Research Context 11 Methodology 12 Literature Review 12 Outline 15 Timeline 16 I. The Generational Frame 17 The New Generation 19 The Art School Generation 20 Generation as an Art-Historical Tool 21 The Meaning of ‘Generation’ 24 Neophobia 26 ‘Young Artists’ as ‘Emerging Artists’ 27 II. William Coldstream and the Professionalization of Art School Education 30 Background: Higher Education for the Population 31 Public Funding and the Pursuit of Purpose 32 Summary: Full Time, Purposive Education 36 The Slade and the University: A Case Study 38 Art Education for Art Education’s Sake 42 4 Anxiety of Purpose: A Longer History 45 The Coldstream Report and the Autonomy of the Art School 49 Professionalizing via Academicizing 52 The Metamorphosis of Art School Awards 56 An Art School Career 57 Artist Teachers 58 The Reaction: Pedagogy Against the University 61 The Self-Taught Art School Student 62 The Blank Slate 64 III. Between the Art School and the Gallery: The Pedagogy and Reception of Young Artist Exhibitions 69 The Art School as Limbo 70 Pedagogic Shortcomings 71 Separation and Corruption 72 The Sinister Market and its Cultural Roots 75 The Market and the Amateur 76 Susceptibility to Success and Fame 78 Trial and Error 81 Avoiding Professionalism: The Slickness Taboo 82 ‘Professional’ as ‘Derivative’ 84 Performing Amateurism 85 Adapting Pedagogy 87 IV. The Young Contemporaries and Beyond: A Historical Overview of Exhibitions for Young Artists in London 1949–1988 92 Young Artist Exhibitions: Historical Background 93 The Young Artist as Amateur 94 The Mid-1950s: When Young Exhibitors Became Professionals 96 Roots of The Young Contemporaries 98 A Philanthropic Impetus 100 The Benefits of Nurturing for Sponsors and State 101 State Funding 103 A Warning with Precedent 104 Policy: Promoting the Future 105 5 The Art Market and the Rise of Young Artist Exhibitions 108 Context: An Art Market Boom 112 The Art School and the Exhibition Space 114 V. Collections: The Growth of Public Patronage for the Young Artist 119 Museums and Collecting Work of the Present Day 119 New Public Institutions 122 The Tate 126 The Story as Told by Trustee Meetings 128 Expressions of Ambivalence 130 The Changing Shape of the Tate Collection 132 The British Council and its Collection 135 The Calouste Gulbenkian Foundation and the British Council 136 Other Factors 139 The Calouste Gulbenkian Foundation and the Tate 141 A Modified Landscape of Patronage 143 VI. The Image of the Artist and the Idea of Beginning 146 —Youth and the Avant-Garde 146 Youth and Progressiveness 146 Youth and the Avant-Garde 147 Romantic Desire for Absolute Originality 148 Young/Old and Emergent/Dominant 150 The Failure of the Avant-Garde and the Rise of Emergence 152 —Youthful Creativity and a Critical Taste for Early Style 153 Early Style for Critics 154 Early Style in Scientific Study 156 Early Style as Contingent 157 —The Market 158 Youth as Obsolescence 158 Pop Roots and American Youth 160 Future Value 161 Youth, Erasure and Beginnings 162 6 Conclusion 164 Works Cited 166 Appendices Appendix 1: Student Statistics unpaginated Appendix 2: Young Artist Exhibitions unpaginated Appendix 3: Acquisitions Data unpaginated Appendix 4: Acquisitions: Visual Account unpaginated 7 ABBREVIATIONS On its first use, a term will be stated in full. Below are abbreviations which recur throughout the thesis. B.A. Batchelor of Arts C.N.A.A. Council for National Academic Awards Dip.A.D Diploma in Art and Design F.B.A. Federation of British Artists I.C.A. Institute of Contemporary Arts N.C.D.A.D. National Council for Diplomas in Art and Design N.D.D. National Design Diploma R.C.A. Royal College of Art R.A. Royal Academy R.S.B.A Royal Society of British Artists U.C.L. University College London 8 ACKNOWLEDGEMENTS I am very grateful to all those who have spent time on this project. I am indebted to Nigel Llewellyn for his advice and encouragement, and to Teresa Gleadowe and Vicky Walsh for their detailed feedback on early drafts. I am grateful to all who have given interviews or spoken to me about the topic, including Andrew Brighton, Jo Volley, Eileen Cooper, Derek Boshier, Stephen Chambers and John Hilliard. Thanks to Leverhulme and Tate, and to staff at Birkbeck Library, Senate House Library, Tate Library and Archive, Blythe House, the National Art Library and the Slade. Among them, Liz Bruchet at the Slade, Robert Winckworth at the U.C.L. Records Office, and Camelia Njemanze at U.C.L. Student Data Services were especially helpful. And lastly my thanks to Jessica, family and friends. 9 INTRODUCTION Research Question The ‘emerging artist’ is a popular subject, beloved of art magazines, exhibitions, television programmes and ‘coffee-table’ books alike. During this research, television series such as School of Saatchi and Goldsmiths: But is it Art? extended talent-spotting television formats to emerging artists.1 Phaidon published Creamier, the fifth in a series of books that promote 100 emerging artists.2 And columns dedicated to emerging artists continued to feature in art magazines: ‘Openings’ in Artforum, ‘Ouvertures’ in Flash Art and ‘Focus’ in Frieze to name but three.3 The frequency with which emerging artists are covered upholds the conventional wisdom that artists do indeed ‘emerge’. To assume that artists emerge is to assume they follow a certain narrative arc, and that their progress can be located in a predetermined story. This dissertation reconsiders the narrative of emergence and gives the ‘emerging artist’ concept a history. It provides two complementary accounts of the term’s development. An institutional history details how changes in education policy, the art market and public patronage contributed to a growth in the number and success of practising young artists in the second half of the twentieth century. A theoretical account then relates the identity of the emerging artist to an older image of the artist, and discusses relationships among youth, the idea of progress and the avant-garde. These two aspects—the institutional and theoretical contexts—are in tension. The first describes a professionalization of young artist ‘insiders’, defined by their increasingly institutionalized progress through schools and galleries and into public collections.
Load more

Recommended publications
  • Work in Progress (1999.03.07)
    _________________________________________________________________ WORK IN PROGRESS by Cliff Holden ______________________________ Hazelridge School of Painting Pl. 92 Langas 31193 Sweden www.cliffholden.co.uk copyright © CLIFF HOLDEN 2011 2 for Lisa 3 4 Contents Foreword 7 1 My Need to Paint 9 2 The Borough Group 13 3 The Stockholm Exhibition 28 4 Marstrand Designers 40 5 Serigraphy and Design 47 6 Relating to Clients 57 7 Cultural Exchange 70 8 Bomberg's Legacy 85 9 My Approach to Painting 97 10 Teaching and Practice 109 Joseph's Questions 132 5 6 Foreword “This is the commencement of a recording made by Cliff Holden on December 12, 1992. It is my birthday and I am 73 years old. ” It is now seven years since I made the first of the recordings which have been transcribed and edited to make the text of this book. I was persuaded to make these recordings by my friend, the art historian, Joseph Darracott. We had been friends for over forty years and finally I accepted that the project which he was proposing might be feasible and would be worth attempting. And so, in talking about my life as a painter, I applied myself to the discipline of working from a list of questions which had been prepared by Joseph. During our initial discussions about the book Joseph misunderstood my idea, which was to engage in a live dialogue with the cut and thrust of question and answer. The task of responding to questions which had been typed up in advance became much more difficult to deal with because an exercise such as this lacked the kind of stimulus which a live dialogue would have given to it.
    [Show full text]
  • Jeffrey Steele
    Jeffrey Steele RCM Galerie Jeffrey Steele La structure et le rythme La structure et le rythme : sur l’art de Jeffrey Steele Le peintre britannique Jeffrey Steele a été l’une des figures artistiques les plus en vue au sein de ce grand mouvement qui a animé les années 1960, l’art cinétique. Grâce à un seul tableau, peint en 1964, immédiatement devenu l’archétype de ce qu’un journaliste de Time Magazine désigna sous l’abréviation d’ Op Art pour Optical Art, en prenant bien le soin d’annoncer dans le titre de l’article sa teneur : « Pictures that attack the Eye ». Pour l’Amé- rique, le ton était donné. L’oeuvre intitulée Baroque Experiment - Fred Maddox devint tout de suite emblématique de la grande exposition internationale The Responsive Eye, qui fut organisée l’année suivante au Museum of Modern Art à New York par William C. Seitz et qui connut malgré les réserves d’une partie du public et de la presse en général un grand retentissement. Baroque Experiment - Fred Maddox, le tableau de Jeffrey Steele aujourd’hui chez un col- lectionneur brésilien, est en effet exemplaire de son art : abstrait, géométrique, bi-dimen- sionnel, fortement structuré par un ensemble de rectangles concentriques partant du centre et augmentant vers la périphérie, en même temps déstabilisé par le basculement de ses élé- ments dans un sens et dans l’autre. Les espaces ainsi créés se trouvent entièrement occupés d’une même forme en demi - lune répétée dont la hauteur est proportionnelle à la largeur des espaces. Le noyau central quant à lui est tapissé de cercles pleins.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • Strategic Anomalies: Art & Language in the Art School 1969-1979
    Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ the Art School 1969-1979 ​ ​ ​ ​ ​ ​ Mark Dennis ​ ​ A thesis submitted in partial fulfilment of the University’s ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ requirements for the Degree of Master of Philosophy/Master of ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Research September 2016 ​ ​ Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit.
    [Show full text]
  • The Scratch Orchestra and Visual Arts Michael Parsons
    The Scratch Orchestra and Visual Arts Michael Parsons Leonardo Music Journal, Vol. 11, Not Necessarily "English Music": Britain's Second Golden Age. (2001), pp. 5-11. Stable URL: http://links.jstor.org/sici?sici=0961-1215%282001%2911%3C5%3ATSOAVA%3E2.0.CO%3B2-V Leonardo Music Journal is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 29 14:25:36 2007 The Scratch Orchestra and Visual Arts ' The Scratch Orchestra, formed In London in 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton, included VI- sual and performance artists as Michael Parsons well as musicians and other partici- pants from diverse backgrounds, many of them without formal train- ing.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • Contemporary Art Society Annual Report 1963-64
    Contemporary Annual 1963-64 Art Report Society Front cover: Gwyther Irwin Lazalo 1962 Collage Below: CAS exhibition 'British Painting in the Sixties' section one, at the Tate Gallery. CAS exhibition 'British Painting in the Sixties'section two, at the Whitechapel Art Gallery. Contemporary Patron Art Her Majesty Queen Elizabeth the Queen Mother Society Tate Gallery Executive Committee Millbank Whitney Straight CBE MC DFC Chairman London SW1 Antony Lousada Vice-Chairman Peter Meyer Honorary Treasurer G L Conran Honorary Secretary Sir Colin Anderson Raymond Mortimer CBE Eardley Knollys Eric Newton CBE Sir John Rothenstein CBE Mrs Oliver Parker DrAlastair Hunter Derek Hill Bryan Robertson OBE The Hon Michael Astor The Lord Croft Alan Bowness James Melvin Mrs Elizabeth Heygate The Hon John Sainsbury Dr Kenneth Marsh Pauline Vogelpoel MBE Organising Secretary My report to you covers the period from our iast Annual General Meeting, held on July 1 6th 1 963, up until today. May! first of all apologise for the fact that our Report for the previous year has only just been dispatched to you. This was because our Organising Secretary, Miss Paulina Vogelpoe!, and her assistant have been greatly overloaded with current problems, the planning and supervision of trips, and the setting up of exhibitions. Consequently other things have had to suffer. Our buyers last year were Mrs Heygate and Mr Melvin, who between them bought 35 pictures. Our two buyers for this year are Sir John Rothenstein and Dr Kenneth Marsh, and we have been able to allot them the sum of £2,000 each. On July 28th last year we had every pleasant day in Northamptonshire and Leicestershire visiting'the private collections of Sir Michael Culme-Seymour at Rockingham Castle, Mrs Kessler at Preston and Mr Guy Dixon at Melton Mowbray, Two bus-loads setoff from London very early in the morning, to be joined later by several members in their own cars.
    [Show full text]
  • Cheltlf12 Brochure
    SponSorS & SupporterS Title sponsor In association with Broadcast Partner Principal supporters Global Banking Partner Major supporters Radio Partner Festival Partners Official Wine Working in partnership Official Cider 2 The Times Cheltenham Literature Festival dIREctor Festival Assistant Jane Furze Hannah Evans Artistic dIREctor Festival INTERNS Sarah Smyth Lizzie Atkinson, Jen Liggins BOOK IT! dIREctor development dIREctor Jane Churchill Suzy Hillier Festival Managers development OFFIcER Charles Haynes, Nicola Tuxworth Claire Coleman Festival Co-ORdinator development OFFIcER Rose Stuart Alison West Welcome what words will you use to describe your festival experience? Whether it’s Jazz, Science, Music or Literature, a Cheltenham Festival experience can be intellectually challenging, educational, fun, surprising, frustrating, shocking, transformational, inspiring, comical, beautiful, odd, even life-changing. And this year’s The Times Cheltenham Literature Festival is no different. As you will see when you browse this brochure, the Festival promises Contents 10 days of discussion, debate and interview, plus lots of new ways to experience and engage with words and ideas. It’s a true celebration of 2012 NEWS 3 - 9 the power of the word - with old friends, new writers, commentators, What’s happening at this year’s Festival celebrities, sports people and scientists, and from children’s authors, illustrators, comedians and politicians to leading opinion-formers. FESTIVAL PROGRAMME 10 - 89 Your day by day guide to events I can’t praise the team enough for their exceptional dedication and flair in BOOK IT! 91 - 101 curating this year’s inspiring programme. However, there would be no Festival Our Festival for families and without the wonderful enthusiasm of our partners and loyal audiences and we young readers are extremely grateful for all the support we receive.
    [Show full text]
  • Sculpture and Installation Public Sculpture and Installaion .Pages
    ARTS - 3860 Section 001 Sculpture and Installation # 67191 Public Sculpture and Installation: Methods and Practice 1:25 PM - 4:25 PM, M/W Regis Center for Art E117 Andréa Stanislav, Associate Professor [email protected] Instructor’s office hour: Mondays 12:15 PM - 1:15 PM, Room #E265 Class will meet during regularly scheduled hours in the classroom. The class will also meet outside the classroom during the scheduled class time. The class may also meet other days of the week for outside events, field trips, and guest artist and curator speakers -- these events may be scheduled on a weekly basis -- and are subject to change. There will also be a public art field trip to Chicago scheduled in April. Suggested texts: • Jane Bennet, Vibrant Matter: a political ecology of things. Duke University Press, Durham and London 2010 • Brunno Latour and Peter Weibel Making Things Public -- Atmospheres of Democracy, MIT Press, 2005 • Guy Debord, La Société du Spectacle (Society of the Spectacle),1967, Rebel Press 2004 Course Description and Objective: This course is an intermediate/advanced exploration of contemporary approaches, concepts, and practices of installation art and public art. What was, is, and will be installation art and public art? What purpose do these art practices serve? Who is the public? What effect and real changes (if any) do these practices have in the public realm and the fine art academy/ world? How are public art monuments that commemorates, honors, reminds, catalogues regarded, critiqued and transformed in the present? This project-based interdisciplinary course will focus on the development of skill sets in making, designing, critical thinking and realization of: a public artwork proposal, a public art intervention project, and an installation project.
    [Show full text]
  • Chapter One – Introduction
    CHAPTER ONE – INTRODUCTION. 1.1 – Time and Colour as Visual Drivers It is generally understood that time and colour constitute an integral part of the great trinity of primary terrestrial and cosmic phenomena i.e., the aggregation of time, light (of which “… colour is a manifestation of a particular wavelengths …” (Collier, 1972: 148)) and space. It is also understood that the perception of one is dependent upon the presence of the other two. The manifestation of time, for instance becomes apparent through the measurement of the distance between objects or points in space. The objects, or points themselves are made visible by the passage of light striking their individual surfaces. How long it takes to get from one object or point to the other provides us with a tangible measure of time. The art historian and sculptor Grahame Collier (1972) reminds us that … space is the arena in which light manifests and this manifestation permits us to discern the layout of objects. Only by perceiving the layout of objects do we become aware of the multidimensional shape of space between them and ultimately the distances involved. Thus we are able to conceive of time… (Collier, 1972: 121). The activities of both the visual artist and architect (whatever their theoretical proclivities may be) are, to one extent or another, concerned with the management and manipulation of space, which of course includes the location of two and three- 1 dimensional forms in space. The artist’s concerns with spatial organization may be engaged at any scale though it is generally, as Collier (1972) remarks, at …a more intimate scale than that of nature; a painting, for example, can become a very personal environment in which even the macro, unarticulated space of sea or sky is transformed into a scale we can apprehend.
    [Show full text]
  • Picture Sale Thursday 28 April 2011 10:30
    Picture Sale Thursday 28 April 2011 10:30 Moore, Allen & Innocent The Salerooms Norcote Cirencester GL7 5RH Moore, Allen & Innocent (Picture Sale) Catalogue - Downloaded from UKAuctioneers.com Lot: 1* Lot: 7 Lots 1 - 51 inclusive have all been donated by the artists and AFTER PHILIP SAYER "The last cuppa" (portrait of the artist by private collectors to raise money for Coln House School - a very Philip Sayer), study of Ralph Steadman with a cup of tea, "The special school in Fairford. It is the only weekly boarding school Last Supper" behind him, black and white lithograph, signed by in Gloucestershire for children who have considerable learning, Philip Sayer and Ralph Steadman, 51.5 x 64 cm, photograph of emotional and psychological difficulties. Many come from Ralph Steadman for The Times 1983 (ILLUSTRATED) (Being challenging backgrounds. All need the dedication, care and sold on behalf of Coln House School, a Registered Charity) considerable skills of their teachers and carers. Your support by Estimate: £80.00 - £120.00 bidding and buying will make a real difference to the lives of the children, and you could take home a marvellous picture too! Thank you Douglas Maxwell Fundraising Governor Coln House Lot: 8 School (Reg. Charity No. 1307488) AFTER HENRI KYRIAKU "Ballet dancer at night, trees in background", colour print, limited edition No'd. 1/25, signed and numbered bottom right, image size 52 x 74 cm Lot: 1 (ILLUSTRATED) (Being sold on behalf of Coln House School, a AFTER GRAHAM OVENDEN & CHARLES SUMMERS "A is Registered Charity)
    [Show full text]
  • Annual Report 2019/2020 Contents II President’S Foreword
    Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic.
    [Show full text]