DOCSLIB.ORG

NML Economic and Social Impact Report 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NML Economic and Social Impact Report 2017 Making a Difference The economic and social impact of National Museums Liverpool Over the years we at National Museums Liverpool have produced three reports on the impact we have in the City Region and the North West. We do this because it is all too easy to overlook the very real economic and social benefits of cultural activity. At a time of diminishing public funding it is crucial that these benefits are spelled out clearly. Foreword In 2012 we produced a document entitled Changing In 2017 we are looking forward to celebrating the Dr David Fleming OBE, Director, Lives. In 2013 we produced The Power of Museums. 10th birthday of the International Slavery Museum, National Museums Liverpool Both reports demonstrated NML’s strong contribution which will be a launch pad for future developments to the visitor economy and demonstrated our impact and an expansion of this important human rights hub. on the groups and communities we work with. If you are interested in the work of National Museums This report shows that we have quadrupled our Liverpool do please get in touch – I hope we can find visitor numbers since 2000. We contribute £53m ways to work together. and more than 1,200 jobs to the local economy. The boost we deliver to our local audience’s wellbeing could be worth as much as £130m per year. We are Contents strong partners in the museum sector and beyond, sharing our skills, loaning objects from the collections Foreword 3 and launching joint projects. And above all, we play Our reach 4 an invaluable role for schools - attracting 77% more Our economic contribution 8 schoolchildren than we did in 2004. Our social impact 12 Coming soon to National Museums Liverpool we Our education work 15 have an exciting programme, including in 2018 an Campaigning and social justice 18 exhibition which brings the Terracotta Warriors to Partnerships and support 20 World Museum and the 60th anniversary of the John Moores Painting Prize at the Walker Art Gallery. International advocacy 24 Meanwhile, we continue to develop our museums and galleries to improve the experience for all visitors. 2 3 Where we work Annual visitor numbers National Museums Liverpool is unique: In 2015/16 there were 2.8m visits to National Museums Liverpool’s the only national museum service in museums and galleries. This is approximately the same number of visits 360% England based entirely outside London. made to all UK music festivals in 2014 and our annual visits could fill the increase Anfield or Goodison Park stadiums 50 times over. Our We safeguard some of the world’s Visitor numbers have greatest museum collections and quadrupled since the reach operate nationally and internationally. year 2000. 3,500,000 We are the largest cultural organisation in the North Walker Seized! West of England and are firmly embedded in the Art Gallery opens Liverpool City Region, an area that has experienced 3,000,000 reopens a renaissance in recent decades, with culture an important driver of this growth. Liverpool is now the fifth most visited city in the UK, attracting around 56 2,500,000 World million visitors per year. Museum reopens The City Region continues to face economic and 2,000,000 social challenges, which have been brought into Capital sharper focus by the recession and public sector cuts. of Culture The economy lags behind other city regions 1,500,000 Year 2008 Museum of Liverpool and deprivation in some areas impacts on health, opens wellbeing and educational attainment. 1,000,000 However, this is a region with great ambition Int. Slavery Museum and optimism for the future and there are real 500,000 opens opportunities from Liverpool City Region Devolution and the Northern Powerhouse. National Museums Liverpool is uniquely placed to serve our local 0 communities and our work is designed to address these challenges and opportunities. 2000/01 2001/02 2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12 2012/13 2013/14 2014/15 2015/16 4 5 Visitors came from: Our wide reach 2% Our museums provide a very important service for Overseas 14% Our museums and galleries have a wide 8% local residents. We attracted almost a million visits reach across the UK and internationally. from Liverpool City Region residents in 2015/16 (more 86% of visits in 2015/16 were made by than a third of our visits), coming from all districts. UK 35% UK residents. Our museums welcomed Our museums encourage local residents to come 34% back again and again. 67% of people who live in the 9% 400,000 visits from overseas, making Liverpool City Region visit our museums more than a strong contribution to the Liverpool once per year. Northwest 16% City Region visitor economy, which had We have visitors of all ages, and provide an important 601,000 overseas visitors in 2015. service for older members of our community. In Liverpool City Region 35% For 40% of our visitors, coming to one 2015/16, 27% of visitors were over the age of 65. We also have many older volunteers, more than half of of our museums was the main reason whom are over 65 years old. for their trip to Liverpool. Visitors Museum of Liverpool/ Our investment in community engagement means we Piermaster’s House attract a much higher number of visits from people from lower socio-economic groups compared with 2015/16 other national museums. In 2010/11 28% of National 23% World Museum Museums Liverpool’s visits came from those in less advantaged groups (NS-SEC 5-8).1 Maritime Museum/Seized! /International Slavery Museum We also have a significant and rapidly growing digital 7% reach. In 2015/16, our website had 2.1 million visits. increase in Our Facebook and Twitter audience has grown by Walker Art Gallery 30% in the last year. Our following is mainly UK-based visitor numbers but extends internationally. For example, more than a third of followers of the International Slavery Museum in the last financial year, despite 24% are based overseas, as are 28% of the Museum of Lady Lever Art Gallery recent cuts to our central Liverpool’s followers. Government grant. Sudley House 6 1 The last available data point from DCMS Sponsored Museums: Performance Indicators 7 As a large, nationally-funded Spend with organisation comprising major visitor suppliers attractions, we contribute £53m to the local economy.2 £5m to £6m £1m to £5m We directly support 470 jobs, in a range of occupations.3 We also have an active volunteer £800,000 to £1m programme, with 160 volunteers contributing to all £140,000 to £800,000 areas of the organisation. 90% of our staff live in the Liverpool City Region. £30,000 to £140,000 £0 to £30,000 In 2015/16 we spent more than £10 million on UK-based suppliers, of which over £3m was spent in Liverpool City Region and over £5m in the North West. This expenditure, along with that of our staff, supports economic activity with direct suppliers and further down the supply chain through multiplier effects. We estimate that through our direct contribution, our expenditure on suppliers and the expenditure of our staff, we support 550 jobs and £25m in Gross Value Added (GVA) in Liverpool City Region, Our rising to a total of 670 jobs and £30m in GVA in the economic North West. contribution 2 Figures are rounded. This research uses Gross Value Added (GVA) as the measure of economic value, to enable comparison with the Liverpool City Region’s targets for growth. GVA is the key measure of the value of goods and services produced in an area, industry or sector of the economy. It is measured as the value of turnover/ revenue, less the value of bought in goods and services. The GVA form of measurement follows HM Government guidelines. 3 Jobs are represented as Full Time Equivalents (FTEs). 8 9 Economic contribution in the Liverpool City Our role in Region and the North West attracting visitors Jobs GVA (£m) (FTE) Alongside the visits we receive from residents, 1.5 million trips were made Direct 470 20 to National Museums Liverpool from Indirect 30 2 outside Liverpool City Region in Induced employee spending 50 3 2015/16, of which around 40% were Visitor economy (LCR) 470 17 Case study: mainly for the purpose of visiting our Total economic 1,020 42 museums and galleries. contribution (LCR) Brew Tea Company Rest of North West indirect 120 5 The visits generate significant amounts of and induced contribution “Brew Tea Company started in 2012 with two people and one stockist expenditure for the Liverpool City Region visitor Rest of North West visitor - that stockist was National Museums Liverpool. Since then we’ve 70 6 economy and beyond. After accounting for economy contribution developed an invaluable relationship with them. The feedback we’ve expenditure within the museums themselves, Total economic received from the teams at all venues has benefited our business 1,210 53 visitors to National Museums Liverpool brought contribution North West immeasurably, allowing us to streamline and improve our product additional expenditure in 2015/16 which offering to mutual benefit. benefited a variety of sectors including hotels, bars, restaurants, shops and so on. When our business started out, the market for premium tea was small, and trusting supply to an independent start-up was a bold move for any This expenditure supports economic activity buyer. That we could count National Museums Liverpool as one of our within the visitor economy and beyond through stockists gave us valuable credibility at a vital time.
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Portof Liverpool
    PORT OF LIVERPOOL BUILDING CONTEMPORARY OFFICE SPACE IN LIVERPOOL’S ICONIC WATERFRONT OFFICE BUILDING ENTER > PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING CLASSIC EXTERIOR / MODERN INTERIOR The Port of Liverpool Building is one of A fine example of classic architecture the historic Three Graces occupying a and exceptional craftsmanship, there is prime position along Liverpool’s stunning more to this building than meets the eye. waterfront. It has been extensively remodelled and Designed in an Edwardian Baroque future-proofed to meet the demands style it was constructed between 1904 of today’s office occupiers, providing and 1907. Today it forms part of the exceptional office accommodation in an UNESCO World Heritage Maritime unrivalled environment with exceptional Mercantile City. views of the City and the Mersey Riverscape. PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING The first floor has recently been sympathetic to the original architectural comprehensively refurbished to provide features of the building, some of which contempory, efficient, open plan office have been retained and the space accommodation to meet with modern provides a large open plan office area, occupiers standards. The comprehensive meeting room and a feature board room refurbishment works have been with views across the Strand. 7,038 sq ft (653.9 sq m) PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION
    [Show full text]
  • Heritage Month Low Res 670173165.Pdf
    £1 Welcome to Liverpool Heritage Open Month! Determined Heritage Open Days are managed nationally by to build on the Heritage Open Days National Partnership the success and funded by English Heritage. of Heritage Heritage Open Month could never happen Open Days, without the enthusiasm and expertise of local celebrating people. Across England thousands of volunteers England’s will open their properties, organise activities fantastic and events and share their knowledge. To architecture everyone in Liverpool who has contributed and heritage, Liverpool is once to the fantastic 2013 Heritage Open Month again extending its cultural heritage programme we would like to say thank you. programme throughout September. The information contained in this booklet was In 2013 over 100 venues and correct at the time of print but may be subject organisations across the city are to change. involved in this year’s programme and buildings of a variety of architectural Further events may have also been added style and function will open their to the programme. Full details of the doors offering a once-a-year chance to Heritage Open Month programme and discover hidden treasures and enjoy a up to date information can be viewed on wide range of tours, and participate in VisitLiverpool.com/heritageopenmonth events bringing history alive. or call 0151 233 2008. For the national One of the attractions new to 2013 Heritage Open Days programme please is the Albany Building, former cotton go to broker’s meeting place with its stunning www.heritageopendays.org.uk cast iron work, open air staircase. or call 0207 553 9290 There is something to delight everyone during Heritage Open Month with new ways to experience the heritage of Liverpool for all the family.
    [Show full text]
  • The Value of Distance: Art’S Cultural Identity Amidst Technology’S Transformations of Space
    THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Liverpool School of the Arts May 2018 II ABSTRACT THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle This study explores technology’s propensity to transform our comprehensions of space, considering the implications of this for our understandings of the work of art and the value that we ascribe to it. With our encounters increasingly a by-product of technological interface, the central question of this work is posed as follows: In what ways (and to what degree) may we regard the contemporary conditions facing the art object (and the values that these elicit) as a consequence of our prevailing technological landscape and its capacity to re-configure our conceptions of space and place? In confronting this, the study begins by surveying recent public justifications made for the arts and the criteria by which their value is ascertained. A trend is recognised, in the growing prevalence of instrumental qualifiers for art’s worth (its quantifiable impacts as a social utility) and a shift away from intrinsic measures. In response to this, I propose the concept of Accumulative Value, arguing that the totality of an art object’s intellectual considerations and explorations (over historical time) are an intrinsic attribute of the object itself and a qualifier of its objective worth. The notion of value itself (with its varying interpretations) is then explored, followed by a contemporary re-evaluation of Walter Benjamin’s concept of the aura, arguing that in our present circumstances this notion may be used in description of an object’s fixed spatial locality.
    [Show full text]
  • Student Guide to Living in Liverpool
    A STUDENT GUIDE TO LIVING IN LIVERPOOL www.hope.ac.uk 1 LIVERPOOL HOPE UNIVERSITY A STUDENT GUIDE TO LIVING IN LIVERPOOL CONTENTS THIS IS LIVERPOOL ........................................................ 4 LOCATION ....................................................................... 6 IN THE CITY .................................................................... 9 LIVERPOOL IN NUMBERS .............................................. 10 DID YOU KNOW? ............................................................. 11 OUR STUDENTS ............................................................. 12 HOW TO LIVE IN LIVERPOOL ......................................... 14 CULTURE ....................................................................... 17 FREE STUFF TO DO ........................................................ 20 FUN STUFF TO DO ......................................................... 23 NIGHTLIFE ..................................................................... 26 INDEPENDENT LIVERPOOL ......................................... 29 PLACES TO EAT .............................................................. 35 MUSIC IN LIVERPOOL .................................................... 40 PLACES TO SHOP ........................................................... 45 SPORT IN LIVERPOOL .................................................... 50 “LIFE GOES ON SPORT AT HOPE ............................................................. 52 DAY AFTER DAY...” LIVING ON CAMPUS ....................................................... 55 CONTACT
    [Show full text]
  • Elmsley Brochure ARTWORK AMENDED.Indd
    the elmsley development is a Rare Opportunity to purchase land in the affluent suburb of Mossley Hill, Liverpool. Liverpool is currently enjoying a renaissance schools, shops, restaurants and cafes. Churches of various denominations are close train station is also nearby which offers and is today a vibrant, multi-cultural Sporting facilities including an LA Fitness by along with Sudley House (a National the same routes and additional ones to European City receiving millions of visitors gym are nearby. Mossley Hill is part of Museums Liverpool property ) and various Yorkshire, Newcastle, Birmingham New each year attracted by the wide variety of the Trans Pennine cycle route number 56. well known Beatles sites including Strawberry Street and London Euston. John Lennon museums, art galleries, shopping facilities, Many doctors, dentists and pharmacies Fields and Penny Lane’s famous barber’s Airport is an International airport providing restaurants, bars and sporting events. are located in the area along with the shop within a few minutes’ walk away. routes to many European cities and is new Sir Alfred Jones Memorial Hospital 6 miles from Mossley Hill. The M62 Mossley Hill is a wealthy, leafy, tranquil (NHS) and Spire Liverpool Private Hospital. Transport links are ideal with Mossley Hill motorway begins in South Liverpool and suburb of south Liverpool, approximately Liverpool’s largest park, Sefton Park and train station close by, which offers direct travels across the Pennines to Hull; it 4 miles from the City Centre. The area other smaller parks are within walking services to Liverpool, Warrington and also links into other motorway networks comprises numerous local nurseries, distance of Elmsley development.
    [Show full text]
  • Rabin, Lucille Feiden Papers
    Lucille Feiden Rabin Papers A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Douglas Rabin, 2010-2011 Extent 5.5 linear feet Access Restrictions Unrestricted Processed Katelyn Wolfrom and Rachael DiEleuterio, 2010, 2011 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Lucille Feiden Rabin Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Biographical Note on Lucille Feiden Rabin Lucille Feiden Rabin (1926-2007) attended Sophie-Newcomb College and Florida State University, where she graduated with Phi Beta Kappa honors. She continued her graduate studies at Bryn Mawr College, where she received her M.A. and Ph.D. in art history. She was a noted scholar and recognized authority in her field of art history and the author of "Ford Madox Brown and the Pre-Raphaelite History-Picture." Source: The St. Augustine Record, http://staugustine.com/stories/061507/obits_46567A3.shtml (accessed October 28, 2014) Scope and Contents Note Collected largely while writing her doctoral dissertation in the late sixties through mid-seventies, the Lucille Feiden Rabin papers focus most extensively on Ford Madox Brown, the Pre-Raphaelite Brotherhood, Howard Pyle, and the Wyeth family, particularly Andrew Wyeth. Rabin’s research on Ford Madox Brown and his connection to later artists took several avenues in the course of writing her dissertation, eventually published as a book. The collection mirrors that diverse research strategy, including information on artists from the 19th century up to modernist painters of the mid- 20th century.
    [Show full text]
  • At National Museums Liverpool
    The Jerwood Supplement Acquisitions (1987?2007) at National Museums Liverpool a previous supplement in the July 1996 issue of this Bruce McLean, Lisa Milroy and Michael Raedecker. Now Magazine published a selection from the first ten years of works such as Alexis Harding's Slump/fear (orange/black) acquisitions by National Museums and Galleries on Mersey (Fig.XXV), winner in 2004, are purchased by the Gallery. side in the fields of fine and decorative art, antiquities and National Museums Liverpool benefit from a longstanding rela oriental art. The present Supplement of acquisitions of tionship with the Contemporary Art Society and many of our National Museums Liverpool (NMGM's successor) is limited acquisitions are made with the help of the Art Fund. to paintings, drawings and sculpture, including works omitted By contrast, the Lady Lever Art Gallery represents the in 1996.1 The fine art collections of National Museums Liver highly individual taste of one collector, the soap manufacturer are pool spread across three venues: theWalker Art Gallery in William Hesketh Lever (1851?1925), ist Viscount Lever the centre of Liverpool; Sudley House, in one of its southern hulme, and was named inmemory of his wife. It is noted for suburbs, a Liverpool shipping-line owner's art collection its collections of furniture,Wedgwood and Chinese ceramics recendy reopened to the public; and across the riverMersey at and eighteenth- and nineteenth-century paintings, drawings the Lady Lever Art Gallery, Port Sunlight. and sculpture, predominandy British. It is primarily a static The displays at theWalker Art Gallery now cover medieval collection and acquisitions are made only when they have tomodern Western art, but itwas originally built in 1877 by connections with the Lever farnily.Not all of Leverhulme's Liverpool City Corporation to house the newly established collection was given to the Gallery when it opened in 1922.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Welcome Guide to the Walker Art Gallery
    Welcome guide 1 Welcome to the Walker Art Gallery Welcome to the Walker Art Gallery This guide will help you find your way around the gallery, if you have any questions please ask a member of staff to help you. • The Gallery ground floor entrance is up the flight of steps shown in the Entrance building pictured above. • You can use a ramp to enter the building which can be found to the right of the steps. • The main entrance takes you straight to the gallery information desk via two sets of automatic glass doors. Ramp entrance Ramp view from the main entrance 2 Getting into the Walker Art Gallery There are two pairs of large doors. Outside doors Automated doors 3 2 1 3 4 15 5 14 13 8 SPECIAL EXHIBITION Stairs 6 GALLERIES 12 Stairs Lift 7 9Staff 10 Staff wear blue shirts and name badges. ENTRANCE Fire alarms 11 TO SPECIAL EXHIBITIONS If the fire alarm sounds please follow staff instructions and ask for assistance if required. Fire alarm tests are planned, if unexpected loud noises are a concern to you please call in advance to check when the next test will take place. Floor plan Member of staff You can see the gallery is made up of lots of small rooms. You can walk a round the rooms in any order. Ground Floor A Big Art for Little Artists B Sculpture Gallery C Craft & Design Gallery Stairs A CAFE Lift SHOP Stairs C B ENTRANCE 4 GROUND FLOOR As you enter you will be faced with the Information Desk.
    [Show full text]
  • Myths and Legends
    Teachers’ notes Myths and Legends Pan, by an unknown sculptor of the French School Room 19 (North Rotunda) FREE ENTRY liverpoolmuseums.org.uk/ladylever @leverartgallery Myths and Legends Introduction to the Gallery Self-guided visits The Lady Lever Art Gallery houses the personal Teachers are welcome to explore the Gallery collection of William Hesketh Lever. It contains without direct input from Gallery staff as part of one of the UK’s finest collections of fine and a self-guided visit. We have a range of resources decorative art. It has the best collection of for teachers to utilise, either on their own or with Wedgwood jasperware anywhere in the world their class. and its collection of Pre-Raphaelite paintings is internationally renowned. Education sessions The Gallery was founded by William Hesketh Lever (1851-1925) and is dedicated to the Book one of our education sessions led by a memory of his wife Elizabeth. Lever wanted to member of staff, which offer an exploration and share his collections with the public. At first he hands-on experience of the Gallery. All of our used the village library for small displays, but he sessions link to the national curriculum and utilise needed a bigger building for his collections. Lever our collections and displays. Booking well in personally selected works of art from his huge advance is advised. A full listing of all our gallery- collection for the Gallery. The Gallery still contains led and self-led sessions is listed on our website the best of his personal art collection. at liverpoolmuseums.org.uk/learning or by contacting our group bookings team on 0151 478 4788 or [email protected] Notes These notes are designed to support Key Stage Teachers’ events 2 teachers exploring the collections at the Lady Lever Art Gallery focusing on the theme of Myths If you are interested in bringing a group to the and Legends.
    [Show full text]
  • Bridget Riley Born 1931 in London
    This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts
    [Show full text]