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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 (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper.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.......................................................................... -
Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge
Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge 09:15-09:40 Registration and coffee 09:45 Welcome 10:00-11:20 Session 1 – Chaired by Dr Alyce Mahon (Trinity College, Cambridge) Crossing the Border and Closing the Gap: Abstraction and Pop Prof Martin Hammer (University of Kent) Fellow Persians: Bridget Riley and Ad Reinhardt Moran Sheleg (University College London) Tailspin: Smith’s Specific Objects Dr Jo Applin (University of York) 11:20-11:40 Coffee 11:40-13:00 Session 2 – Chaired by Dr Jennifer Powell (Kettle’s Yard) Abstraction between America and the Borders: William Johnstone’s Landscape Painting Dr Beth Williamson (Independent) The Valid Image: Frank Avray Wilson and the Biennial Salon of Commonwealth Abstract Art Dr Simon Pierse (Aberystwyth University) “Unity in Diversity”: New Vision Centre and the Commonwealth Maryam Ohadi-Hamadani (University of Texas at Austin) 13:00-14:00 Lunch and poster session 14:00-15:20 Session 3 – Chaired by Dr James Fox (Gonville & Caius College, Cambridge) In the Thick of It: Auerbach, Kossoff and the Landscape of Postwar Painting Lee Hallman (The Graduate Center, CUNY) Sculpture into Painting: John Hoyland and New Shape Sculpture in the Early 1960s Sam Cornish (The John Hoyland Estate) Painting as a Citational Practice in the 1960s and After Dr Catherine Spencer (University of St Andrews) 15:20-15:50 Tea break 15:50-17:00 Keynote paper and discussion Two Cultures? Patrick Heron, Lawrence Alloway and a Contested -
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Arts Council OF GREAT BRITAI N Value fir Money ;ES;VHH AND IN,'-ORMATiON L13PARY DO NOT REMOVE FROM OM THIS ROOM Thirty-second annual report and accounts year ended 31 March 1977 Thirty-second Annual Report and Accounts 197 7 ISBN 07287 0143 X Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1 V OA U Designed by Paul Sharp Printed in England by Shenval Pres s The montage on the cover illustrates the work of the Art s Council's specialist departments : Music : Page of vocal score of Sir William Walton 's Troilus and Cressida, showing revisions made by the composer for the 1976 production by the Royal Opera Art : Foy Nissen's Bombay by Howard Hodgkin Drama : The Olivier auditorium at the National Theatr e Literature : Some books and magazines published or subsidise d by the Council Contents Chairman 's Introduction 5 Secretary-General's Report 7 Regional Activities 15 Drama 1 6 Drama 1948-1977 (a personal commen t by N. V. Linklater) 20 Music 23 Visual Arts 26 Literature 30 Touring 3 1 Community Arts 32 Festivals 34 Housing the Arts 34 Training 35 Research and Information 36 Marketing 36 Scotland 37 Wales 41 Membership of Council and Staff 44 Council, Committees and Panels 45 Annual Accounts 53 The objects for which the Arts Council of Great Britai n is established by Royal Charter are : 1 To develop and .Improve the knowledge, understanding and practice of the arts ; 2 To increase the accessibility of the arts to the publi c throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects. -
City, University of London Institutional Repository
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: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III 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 eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Frank Bowling Obe, Ra Cv
FRANK BOWLING OBE, RA CV Born February 1934 Bartica, Essequibo, British Guiana Education 1959-1962 Royal College of Arts, London Slade School of Arts, London University 1957-1959 Regent Street Polytechnic, Chelsea School of Art Solo Exhibitions 2019 Retrospective, Tate Britain, London, UK (forthcoming) More Land then Landscape, Hales London, UK (forthcoming) 2018 Towards the Light, Christian Larsen, Stockholm, Sweden Make it New, Alexander Grey Associates, New York, USA Mappa Mundi, Irish Museum of Modern Art, Dublin, Ireland; Sharjah Art Foundation, Sharjah, UAE 2017 Mappa Mundi, Haus der Kunst, Germany Fishes, Wishes in Summertime Blue, Hales Gallery, London, UK Metropolitanblooms, Hales Project Room, New York, USA 2016 New White Paintings, Hampstead School of Art, London, UK 2015 Frank Bowling: The Poured Paintings, Hales Gallery, London Frank Bowling: Map Paintings, Dallas Museum of Art, USA Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Galleries, Chelsea College of Art, London, UK Frank Bowling, Marc Selwyn Fine Art, California, USA 2014-2015 Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, USA 2013 The Map Paintings 1967-1971, Hales Gallery, London Paintings 1967-2012, Spanierman Modern, New York, USA 2012 Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973–8, Focus Display, Tate Britain, London, UK Frank Bowling New Paintings, Spanierman Modern, New York, NY, USA London, 7 Bethnal Green Road, E1 6LA. + 44 (0)20 7033 -
Craigie Aitchison CBE RA Hon
John Hoyland RA BIOGRAPHY 1934 Born in Sheffield 1951-1956 Studied at Sheffield College of Art 1956-1960 Studied at Royal Academy Schools 1960 Began teaching at Hornsey College of Art with Bridget Riley, Alan Green 1962 Began teaching at Chelsea 1963 Calouste Gulbenkian Foundation Purchase Award 1964-1965 Prizewinner at John Moores Liverpool Exhibition, 1965 1966 Prizewinner at Open Paintings Exhibition, Belfast 1967-1969 Frequent visits to New York with Larry Poons and Ronnie Langfeldt 1969 First Prize Edinburgh Open l00 Exhibition; Made series of screenprints at Kelpra Studio, London 1974-1977 Visiting lecturer St. Martin's School of Art, Royal Academy Schools and Slade School of Art 1975 First Prize, Chichester National Art Exhibition, Rome Scholarship Committee (printmaking) 1978 Artist in Residence, Studio School, New York (Summer) 1979 Artist in Residence, Melbourne University - April 1980 Selector and curator for Hayward Annual, London. Arts Council of Great Britain Purchase Award 1982 Worked in Los Angeles. First Prize, John Moores Liverpool Exhibition 1987 First Prize, Athena Art Awards Exhibition. Travelled in West Indies. 1988 Travelled in United States, selecting and curating Hans Hofmann exhibition for Tate Gallery, London 1998 Woolaston Award for most distinguished work in the Royal Academy Summer Exhibition 1999 Appointed Professor of Painting at the Royal Academy Schools SELECTED RECENT GROUP EXHIBITIONS 1991 'Affinities', Crane Gallery, London; 'British Art from 1930', Waddington Galleries, London 1992 'The Poetic Trace: -
Contemporary Art from the Richard Brown Baker Collection September 23, 2011-January 8, 2012
Made in the UK: Contemporary Art from the Richard Brown Baker Collection September 23, 2011-January 8, 2012 Made in the UK offers an exceptional look at developments in British art--from the abstract painting of the 1950s to the hyperrealist images of the 1970s to the varied approaches of contemporary work. Throughout this period British art has been integral to international developments in contemporary art, but many of the artists included in this exhibition are less well known in America today than they once were. The RISD Museum's extraordinary collection of postwar British art-- uniquely strong in the United States--was made possible by the foresight and generosity of renowned collector Richard Brown Baker (American, 1912--2002). The show celebrates his extraordinary gift of British art as well as the works purchased with the substantial bequest he provided to continue building the collection. Baker, a Providence native, moved to New York in 1952, living just blocks from the 57th Street art galleries. As the city evolved into the new center of the art world, Baker was compelled to collect. Although he did not have large funds at his disposal, he became one of the most prescient collectors of American and European contemporary art in the late 20th century, acquiring more than 1,600 works, many before the artists had established their reputations. Baker never intended to build a collection of British art; his British holdings developed naturally in the context of his international outlook. He gave most of his collection to the Yale University Art Gallery, his alma mater, but gifted the RISD Museum more than 300 works, of which 136 are British. -
Contemporary Art Society Annual Report 1975
CONTEMPORARY ART SOCIETY The Ordinary General Meeting of the Contemporary Art Society will be held in the Lecture Theatre of the Tate Gallery on July 5, 1976 at 6.30 p.m. AGENDA 1. Minutes of the last Ordinary General Meeting to be read and approved. 2. Consideration of Balance Sheet and Income and Expenditure Accounts 3. Appointment of Auditors 4. Peter Meyer and Neville Burston retire from the Committee under Article 41. The following nominations for election to the Committee have been received: Alan Bowness Carol Hogben Bryan Montgomery Geoffrey Tucker 5. Any other business By order of the Corrimittee Pauline Vogelpoel June 10 1976 Patron Chairman's Report Her Majesty Queen Elizabeth The Queen Mother In January 1975, at long last, we held our Art Fair in the Mall Galleries, as I mentioned briefly in my report last year, showing one work by each Executive Committee of 150 artists chosen by our Sub-Committee from dealers' stocks. The show was beautifully hung by our Organising Secretary and there were Peter Meyer Chairman many compliments from exhibitors, the Press and the public. Thirteen Alistair McAlpine Vice Chairman pictures were sold, seven to museums, four to private buyers and two to Nancy Balfour OBE Honorary Treasurer our Buyers for the year and a point that was particularly appreciated Lord Croft Honorary Secretary was the fact that every work was priced, a procedure that is all too rare Caryl Hubbard in dealers' galleries today. Some visitors thought that we should not have Max Gordon included established artists such as Bacon, Lowry, Moore and Nicholson Sir Norman Reid on the ground that the few museums who could afford to buy their works Neville Burston would know where to find them. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
Britain in the World 1860–Now
yale center for british art Britain in the World 1860–now Second-floor galleries Rebecca Salter, born 1955, British K37 1996, mixed media on canvas The work of Rebecca Salter draws on a variety of artistic styles, media, and cultural traditions. Her distinctive approach was shaped primarily by the six years she spent in Kyoto, Japan, in the early 1980s, where she studied ceramics. She returned to her native London with a commitment to two-dimensional art and a particular interest in Japanese printmaking techniques and the subtle textures and surfaces of Japanese papers. In the late 1980s, however, she also began to make regular visits to the Lake District in northern England, taking inspiration from the austere landscape and ever-shifting weather conditions. Working within a tight tonal range and rarely letting one part of the canvas speak louder than any other, Salter’s paintings are nonetheless quietly compelling: a suitable match for the architecture of Louis Kahn (designer of the Yale Center for British Art), in whose memory this painting was purchased. Friends of British Art Fund and Gift of Jules David Prown, MAH 1971, in memory of Louis I. Kahn, B2011.8 Sandra Blow, 1925–2006, British Red Circle 1960, mixed media on board Sandra Blow emerged in the 1950s as one of the most innovative figures in British abstract art. Blow built her reputation as an independent and pioneering force despite making and keeping a loose connection to the modernists at St. Ives, especially Barbara Hepworth, Ben Nicholson, and Patrick Heron. Red Circle’s vivid band of color encircling concentric black rings on a monochrome field exemplifies her bold abstraction, which nevertheless references the natural world and organic forms. -
JOHN HOYLAND Born 1934, in Sheffield, England
JOHN HOYLAND Born 1934, in Sheffield, England; Died July 31 2011 EDUCATION 1960 Graduated from the Royal Academy Schools, London AWARDS 1963 Calouste Gulbenkian Foundation Purchase Award 1964 International Young Artist Award, Tokyo 1965 Prize Winner at John Moores Liverpool Exhibition 1966 Prize Winner at Open Paintings Exhibition, Belfast 1969 First Prize (with Robyn Denny), Edinburgh Open 100 Exhibition 1975 First Prize, Chichester National Art Exhibition 1979 Arts Council of Great Britain Purchase Award 1982 First Prize at John Moores Liverpool Exhibition (with ‘Broken Bride') 1986 Joint First Prize, Korn Ferry International Award Exhibition (with William Scott) 1987 First Prize, Athena Art Award 1991 Elected Royal Academician 1998 Wollaston Award, Royal Academy Summer Exhibition 2000 Elected Foreign Painter Academician, Accademia Nationale di San Luca, Rome, Italy 2003 Honorary Doctorate, Sheffield Hallam University 2008 Honorary Member, Royal West of England Academy SELECTED SOLO EXHIBITIONS 2015 John Hoyland: Power Stations, Newport Street Gallery, London 2011 Beaux Arts, London Charles Nodrum Gallery, Melbourne 2010 Lemon St Gallery, Truro 2009 Galerie White8, Vienna Alan Wheatley Art, London Beaux Arts, London 2008 Beaux Arts, London Lemon Street Gallery, Truro Neville Keating Pictures, London Sarah Myerscough Fine Art, London 2007 Hillsboro Fine Art, Dublin Gallery Aalders, La Garde Freinet, France 2006 Beaux Arts, London Lemon Street Gallery, Truro, Cornwall Tate St Ives, St Ives Michael Carr Gallery, Sydney 2005 Lemon Street -
John Hoyland, Anthony Caro, Kenneth Noland
FOR IMMEDIATE RELEASE John Hoyland, Anthony Caro, Kenneth Noland 20 November 2015 – 16 January 2016 6 Burlington Gardens, W1S 3ET Private view: Thursday 19 November 2015 London-Pace London is pleased to announce an exhibition of works by John Hoyland, Anthony Caro and Kenneth Noland, celebrating the friendship and connections between the three artists. The exhibition will be on view in the ground floor gallery of 6 Burlington Gardens from 20 November to 16 January 2016. This exhibition is the first presentation by Pace London of Hoyland’s work and follows the recent announcement of Pace’s representation of the artist’s estate. It coincides with John Hoyland: Power Stations (Paintings 1964–1982), on view at Newport Street Gallery, London, until 3 April 2016. The exhibition also marks Noland’s first exhibition in the UK since the artist’s death in 2010 and the first at Pace London. John Hoyland, Anthony Caro, Kenneth Noland will explore the matrix of concerns—colour, form, material and working in series—that these figures shared with a selection of work by each artist from the 1960s and 1970s. It will allow the viewer to consider the inner relations between important works by these modern masters. Hoyland, Caro and Noland all emerged in the wake of the first generation of the New York School and sought to continue the legacies of their abstract forebears. Hoyland first met Noland in 1964 having already been deeply impressed by Caro's historic show at the Whitechapel Gallery in 1963, the year before his own appearance there with the influential 'New Generation' Exhibition.