Greatgriffith Gazette

Total Page:16

File Type:pdf, Size:1020Kb

Greatgriffith Gazette greatgriffith gazette � Published by the Registrar Edited by simon Rigg Volume 5 Issue 16 14/2/78 ITITrrITrrITTIITTIITITTIITTIITITITITITITITITTIITITITITITITITIT TI IT IT THIS ISSUE IT SPECTROMETER IT ----- IT IT {?)/•it � SPECTROMETER IT � MIM has donated an infrared� \j:. IT spectrometer to the School IT of Science. IT IT pa IT Picture on this ge. IT IT Details - Page 2. IT � ORIENTATION WEEK � TI IT IT Full program in Orientation IT n TI Week issue. Some notes o IT IT Page 5. IT IT � GRADUATION BALL IT � Promises to be a great � Mr Bruce Watson from MIM, The Vice-Chancellor, Professor Guthrie TI evening. See details IT this page. IT and Dr Smart beside the new IT Spectrometer (Story on Page 2). � GRIFFITH UNIVERSITY � IT WOMEN IT ITITITITITITITITITITITTIITTIITITITITITITITITTIITITITITITITITITITITITITITITITITITITITITITITITITITITTIIT � Their next meeting and topic� of discussion on Page 6. IT IT GRADUATION BALL � PART-TIME STUDY � IT � The School of Modern Asian IT The Dinner Dance tickets are selling IT Studies reintroduces part­ TI well - 100 sold to date. Most time study. See Page 3. IT IT people seem to be aware of the IT IT ITITITITITITITITITITITITITITITITITITITITITITTIITITITITITITITIT new location, but just in 1 case you haven't heard, we GAZETTE 78 found that the number of The Gazette will be published , enquiries we were 12 times in 1978, once after 1, 0· receiving made the each meeting of the Council and one special Orientation space in the AES building Week issue. look a little small so that ITITITITTIITITITITITITITITITITITITITITITTIITITITITITITITITITIT we have hired a giant marquee that will be erected and cover the lawn outside the Humanities corrmon room. GREAT GRIFFITH GAZE'ITE PA(JE 2 SPECTROMETER NOMINATIONS FOR MEMBERSHIP - WORKS OF ART COMMITTEE E E E Mr Bruce Watson, a Director of M.I.M. Holdings The Works of Art Committee of Griffith University E Limited presented the School of Science with a r spectrometer donated to Griffith University by is responsible to the Council for promoting and E major mining company M.I.M. Holdings Limited. encouraging interest in the visual and plastic r It will be used in research directly useful to E mining, agriculture and protection of the arts within the University and in the surrounding E environment. community. In particular, the Committee is E E The Perkin Elmer Research Infra-Red Spectr ometer responsible for the Griffith University art E was purchased with a gift of $8,600 from M.I.M., collection. The Committee has provision for E and was made available by the School of Chemistry E at Macquarie University, Sydney. membership by two members who are:- M r It is the first research infra-red spectrometer - E at Griffith University. specially fitted by their qualifiaations, E experienae or profession for serviae on the E Professor R.D. Guthrie, Chairman of the School Cormrittee; E of Science at Griffith University, said the - members of Griffith University. E spectr ometer would be used in a range of research E already taking place at the University, including E much that relates directly to special interests These two University members are appointed by E of industry: E Council after consultation with the Works of E the rate at which mineral oxides dissolve {which Art Committee. The persons nominated to Council E relates to mineral extraction, electro-plating, E and corrosion control) by the Committee shall be chosen by the E Committee from among those nominated for E the structure of oxyanions {which relates to mineral E extraction and the use of fertilisers in membership of the Committee by members of the E agriculture) University. The term of office for each such E E polymer chemistry {the study of the structure of member is two years, and will commence after the E polymers relates directly to meeting specific March meeting of the Council: i.e. on 7th March E requirements of industry. Well-known materials E produced to meet varying technological needs 1978, I hereby call for nominations for two E include polypropylene and polystyrene). University members of the Works of Art Committee E I: The School of Science is already studying of Griffith University. Nominations are to E experimental samples from various mines in contain the signed consent of the nominee and the E Queensland. E signature of the nominor. The closing date for EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE nominations is 5 p.m. on Friday 10th February 1978, E E LARRY CRISSMAN - ANTHROPOLOGIST Ms Noad has indicated that anyone wishing to E enter a late nomination should contact her on E Dr- Lawrenae Crissman has accepted a position as E Lecturer in the School of Modern Asian Studies at 275 7266. E Griffith University. Before coming to Griffith, E Dr Crissman was Assistant Professor of Anthropology P.M. Nowi, E at the University of Illinois at Urbana-C hampaign. E Aating for the Registrar. Dr Crissman was a graduate of the University of E Illinois, and received his Ph.D. from Cornell E University. EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE E He has spent considerable time in Taiwan, studying E marketing and other social factors. The study of NOTICE TO MEMBERS OF CONVOCATION E the overseas Chinese in South-East Asia and Au stralia E Is one of his chief research interests. Notice is hereby given to members of E Ill (D I-' Convocation and 'rj members of EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE Hirl- ..., ::,'I-'• lj 1-'•::l rl-rl- (i) Convocation at 1-'•0 University that the Convocation Roll for the 1977/78 will close on 3rd March, 1978. Persons entitled to register their names on the Roll include: A former members of the Interim, First and subsequ ent Councils; B members of the Council of the University; C the Vice-Chancellor, full-time faculty staff of the University, part-time faculty staff of the University teaching more than 50 hours per year; D other members of staff of the University; E enrolled undergraduate and postgraduate students of the University; F graduates of the University. A person wishing to register as a member of Convocation should do so in writing to the Registrar� Griffith University, Nathan, 4111, giving his full name and address for correspondence and indicating the category of membership of Convocation, as set out above, to which he belongs. To I (D lj lj (D lj (/J remain on the Roll, it is necessary to (D annually, An election will be held in the 1-'rl- t-fil)q 1-'•I-'• period 27th February to 31st March, 1978 to I-' a casual vacancy on the Council. M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M GREAT GRIFFITH GAZETTE PAGE 3 QUEEN ELIZABETH II FELLOWSHIPS AINSE ANNOUNCEMENTS - RESEARCH GRANTS Congratulations to the following faculty staff who Physical & Biological Sciences were successful in attracting 1978 AINSE grants to support their research. To commemorate the Royal Visit to Australia in 1963 the Australian Government established the Dr W.K. Busfield {Science) - "Irradiation Effects Queen Elizabeth II Fellowships Scheme. Under on Structure of Polypropylene" - Credit for this scheme up to ten fellowships may be awarded travel, accommodation and costs incurred at Lucas each year for full-time research by young scientists Heights - $800 - Total $800. of exceptional promise and proven capacity for original work. These are post-doctoral awards Professor R.L. Segall, Ors R.St.C. Smart and P.S. tenable in an Australian university or approved Turner {Science) - "Radiation Damage Effects in research institution normally for two years. the Kinetics of Dissolution of Oxides" - Credit Tenure of a Fellowship ls expected to commence for travel, accommodation and costs incurred at within nine months of the announcement of the award. Lucas Heights - $800; Direct Grant - $200 - Total $1,000. QUALIFICATIONS - Queen Elizabeth II Fellows must be either Australian or United Kingdom citizens. They Dr S. Myhra (Science) - "Radiation Damage in should have a Ph.D., or equivalent qualifications, Semiconductors and Ordered Alloys" - Credit for in one of the physical or biological sciences travel, accommodation and costs incurred at Lucas (which are deemed to include mathema.tics and the Heights - $5000; Direct Grant - $800 - Total scientific aspects of statistics, engineering, $5,800. metallurgy, agriculture and medicine). Awards will, in general, be restricted to applicants Professor C.W. Rose (AES) - "The Estimation of the who are not more than 30 years of age on the date Areal Variation in Soil Erosion Intensity and the when applications close. past and present rates of soil erosion in the Darling Downs using 137cs and 210pb" - Credit for STIPEND $16,126 (Austral Ian) per annum - increased travel, accommodation and costs incurred at Lucas to $17,333 per annum at age 28 years. Heights - $900 - Total $900. ---------------------------��-�---------------------�--�HMMMHMMMHHHMHHMHMMHHMHHMMHMMMHMMHMMMMHMMMHHMHMMMMMHMHMHH ALLOWANCES are payable in respect of a Fellow's -------------------------------------------------------- dependant spouse ($500 p.a.), each dependant - PART-TlME STUD ES IN THE SCHOOL OF MODERN AS AN STUD ES child ($200), superannuation payments (up to I I I 10 per cent of stipend), appropriate insurance coverage and necessary travel expenses. - The School of Modern Asian Studies has decided to reintroduce Part-Time Bachelors degree studies APPLICATIONS - Persons interested in applying for after an excellent response to its recent the above fellowships should obtain application advertisement for the course.
Recommended publications
  • Broken Stillness Şirket-I Hayriye Sanat Galerisi 14–21 Eylül, 2011 Ziyaret Saatleri: 10:00–18:00
    brokenstillness broken s t n i o r ISEA2011 l b l UNCONTAINABLE s n s e e s n s l BrOkEN b l sTILLNEss r şİrkEt-İ HAyrİyE sanAt galerİSİ o w 14–21 EyLüL, 2011 k zİyArEt saatLErİ: 10:00–18:00 e n i s t t SAnAt DİrEktörü/ArtIStIc DIrEctor LANfranco ACETI s KÜRATÖR/cUrATOR HELEN sLOAN i n e SAnAtÇILAr/ARTIStS BOrEdOmrEsEArCH (VICkY IsLEY l k o & PAUL smITH); SusAN COLLINs; David CotterrELL; l r sIgUNE HAmANN; PETEr HArdIE; TIm HEAd; SusAN Sloan. n b e s s s SAnAt DİrEKTÖRÜ VE KONFErAnS BAşkAnI / s e ARTiStIc DIrECTOR AnD CONFErEncE cHAIr b n LANfranco ACETI KONFErAnS VE PROGrAM DİrEKTÖRÜ / r l CONFErEncE AnD PROGrAM DIrECTOR o ÖzdEN ŞAHiN k l i t s n e k o r b s s e n l l i t s n e ISEA2011 Uncontainable: Broken Stillness, Şirket-i Hayriye Art Gallery, Istanbul, 14–21 September 2011. (Photographic documentation by Ender Erkek.) 120 UNCONTAINABLE LEA VOL 18 NO 5 ISSN 1071-4391 ISBN 978-1-906897-19-2 ISSN 1071-4391 ISBN 978-1-906897-19-2 LEA VOL 18 NO 5 UNCONTAINABLE 121 UNCONTAINABLE Broken Stillness ISEA2011 Uncontainable: Broken Stillness, Şirket-i Hayriye Art Gallery, Istanbul, 14–21 September 2011. (Photographic documentation by Ender Erkek.) 122 UNCONTAINABLE LEA VOL 18 NO 5 ISSN 1071-4391 ISBN 978-1-906897-19-2 ISSN 1071-4391 ISBN 978-1-906897-19-2 LEA VOL 18 NO 5 UNCONTAINABLE 123 UNCONTAINABLE Broken Stillness ISEA2011 Uncontainable: Broken Stillness, Şirket-i Hayriye Art Gallery, Istanbul, 14–21 September 2011.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Press Release — Tim Head Fictions
    18 Woodstock Street London W1C 2AL +44 (0)20 7495 1969 [email protected] Press Release Parafin is pleased to announce a solo exhibition by the important British artist Tim Head. ‘Fictions’ showcases a major new series — of large-scale unique digital prints on acrylic and works on paper. Tim Head Since the 1990s Head has developed an innovative body of work Fictions incorporating projections, LCD displays and inkjet prints, focused on an exploration of digital space. Head’s current works extend his — project to articulate ‘the digital medium’s elusive material substance’. 28 November 2014 – The recent work fabricates a series of fictitious spaces within the 24 January 2015 weightless abstraction of the digital – stacked circles woven together — to form a multi-layered surface without depth. The works that these Private view: processes produce are surprisingly beautiful, at once visually seductive and conceptually rigorous. Moreover, they represent a continuation 27 November, 6–8pm of concerns that have preoccupied Head since his earliest exhibitions, an investigation of reality and perception. As Michael Bracewell recently wrote, ‘The art of Tim Head has long made articulate the curious yet forcefully real schisms which exist between the techno- materiality of the modern world and our experience of its constitution’. — Tim Head studied with Richard Hamilton and Ian Stephenson at the University of Newcastle-upon-Tyne from 1965-69 and then with Barry Flanagan at St Martin’s in London from 1969-70. In 1968 he spent several months in New York working as assistant to Claes Oldenburg and met leading figures in the Conceptual Art movement, including Robert Smithson, Sol Lewitt and Eva Hesse.
    [Show full text]
  • Whitechapel Gallery Name an Exhibition
    Whitechapel Gallery Name an Exhibition 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne-Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare Herbals Historical and Pageant 1910 Society of Essex Artists Students Attending London Technical, Art and Evening
    [Show full text]
  • Tim Head: Raw Material 20 March - 9 May 2010
    Tim Head: Raw Material 20 March - 9 May 2010 Laughing Cavalier 2002 (detail) real time computer programme on LCD screen Teachers’ Pack Contents: • Screen works • Projections • Drawings • Digital prints • Artist’s quotes • Press Release • Definitions • Links and further information If you would like to plan a visit please contact Sarah Campbell (Education Officer), 01223 748100, [email protected] 1 Screen works: Laughing Cavalier 2002 (detail) real time computer programme on LCD screen The works on screen are created by real-time computer programmes. These programmes treat the screen as a whole, meaning their instruction is always to change the colour of all the pixels at once in a particular way. In Laughing Cavalier the programme instructs the computer to select random colours in quick succession and to change the colour of the whole screen. However, the screen refreshes (updates with what the computer is trying to display) more slowly than the computer changes the colour so it displays the colour changes part way through as bands. The screen cannot keep up with the computer just as our eyes struggle to keep up with what is displayed on the screen. Questions: Are you comfortable watching the works on the screens? Do you keep looking in one place or move them around the screen? How would you describe what you were looking at? Art critic Ian Hunt describes Tim Head’s work as creating ‘visual exhaustion’. Laughing Cavalier is a fascinating, yet tiring viewing experience. The rich colours might be pleasurable to view but the flashing bands confuse our eyes.
    [Show full text]
  • British Art Now: an American Perspective
    British Art Now: An American Perspective 1980 Exxon International Exhibition I I ^*5 Please return to Ward Jackson, Archivist The Solomon R. Guggenheim Museum 1071 Fifth Avenue New York 10028 Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/britishartnowameOOwald BRITISH ART NOW: AN AMERICAN PERSPECTIVE 1980 EXXON INTERNATIONAL EXHIBITION January 18 - March 9, 1980 Works in the exhibition JOHN EDWARDS 3. Green Drift. 1977-78 Acrylic on canvas, 66 x 70" Courtesy Rowan Gallery Ltd. , London Black Meadow . 1977-78 Acrylic on canvas, 66 x 60" Collection The British Council, London Red Veil . 1978 Acrylic on canvas, 66 x 100" Courtesy Rowan Gallery Ltd. , London 9. Eclipse . 1978 Acrylic on canvas, 66 x 100" Courtesy Rowan Gallery Ltd. , London 10. Cochineal . 1978 Acrylic on canvas, 66 x 100" Courtesy Rowan Gallery Ltd. , London 11. della Robbia Blue . 1979 Acrylic on canvas, 66 x 96" The Solomon R. Guggenheim Museum, New York Exxon International Purchase , Page 2 British Art Now checklist 11a. Black Mistral . 1978 Acrylic on canvas, 46 x 66" Courtesy Rowan Gallery Ltd. , London lie. Ptolemy I . 1979 Acrylic on canvas, 66 x 90' Courtesy Rowan Gallery Ltd. London ALAN GREEN 16. Extended Blue. 1976 Oil on canvas 65 x 65" Collection The Solomon R. Guggenheim, New York Gift, Mr. and Mrs. Joseph Ascher 79.2524 18. Six Separate Panels . 1978 Each 23 3/4 x 23 3/4" Courtesy Annely Juda Fine Art , London Black Jap Panel White-Lead Black Panel White Lead Panel Oil on paper on Oil on canvas Oil on canvas canvas White on Brown Dark Red Panel Line Black Panel Panel Oil on canvas Tempera on paper Acrylic on paper on canvas on canvas Page 3 British Art Now checklist 19.
    [Show full text]
  • Richard Hamilton (Artist) 1 Richard Hamilton (Artist)
    Richard Hamilton (artist) 1 Richard Hamilton (artist) Richard Hamilton Born 24 February 1922Pimlico, London, England Nationality English Field Collage, Painting, Graphics Training Royal Academy Slade School of Art University College, London Movement Pop Art Works Just What Is It that Makes Today's Homes So Different, So Appealing? Richard Hamilton, CH (born 24 February 1922) is an English painter and collage artist. His 1956 collage titled Just What Is It that Makes Today's Homes So Different, So Appealing?, produced for the This Is Tomorrow exhibition of the Independent Group in London, is considered by critics and historians to be one of the early works of Pop Art.[1] Early life Richard Hamilton grew up in the Pimlico area of London. Having left school with no formal qualifications Hamilton got work as an apprentice working at an electrical components firm. Here he discovered an ability for draughtsmanship and began to do painting at evening classes at St Martin's School of Art which eventually led to his entry into the Royal Academy Schools. After spending the war working as a technical draftsman he re-enrolled at the Royal Academy Schools but was later expelled on grounds of "not profiting from the instruction", loss of his student status forcing Hamilton to carry out National Service. After two years at the Slade School of Art, University College, London, Richard Hamilton began exhibiting at the Institute of Contemporary Arts (ICA) where he also produced posters and leaflets and teaching at the Central School of Art and Design. Richard Hamilton (artist) 2 1950s and 1960s Hamilton's early work was much influenced by D'Arcy Wentworth Thompson's 1913 text On Growth and Form.
    [Show full text]
  • Tate Report 2002–2004
    TATE REPORT 2002–2004 Tate Report 2002–2004 Introduction 1 Collection 6 Galleries & Online 227 Exhibitions 245 Learning 291 Business & Funding 295 Publishing & Research 309 People 359 TATE REPORT 2002–2004 1 Introduction Trustees’ Foreword 2 Director’s Introduction 4 TATE REPORT 2002–2004 2 Trustees’ Foreword • Following the opening of Tate Modern and Tate Britain in 2000, Tate has consolidated and built on this unique achieve- ment, presenting the Collection and exhibitions to large and new audiences. As well as adjusting to unprecedented change, we continue to develop and innovate, as a group of four gal- leries linked together within a single organisation. • One exciting area of growth has been Tate Online – tate.org.uk. Now the UK’s most popular art website, it has won two BAFTAs for online content and for innovation over the last two years. In a move that reflects this development, the full Tate Biennial Report is this year published online at tate.org.uk/tatereport. This printed publication presents a summary of a remarkable two years. • A highlight of the last biennium was the launch of the new Tate Boat in May 2003. Shuttling visitors along the Thames between Tate Britain and Tate Modern, it is a reminder of how important connections have been in defining Tate’s success. • Tate is a British institution with an international outlook, and two appointments from Europe – of Vicente Todolí as Director of Tate Modern in April 2003 and of Jan Debbaut as Director of Collection in September 2003 – are enabling us to develop our links abroad, bringing fresh perspectives to our programme.
    [Show full text]
  • Tim Head Tim Head Tim Head Tim Head Tim Head
    17th International Symposium on Electronic Art eais un c ISEA2011 Istanbul ableontaini eaiscontaiseasea un con un- u tainiseainn ableco un eabl incontantaiisea able ontauncontainisean c ab un leiniseaablele ab un uncontainable uncontainable uncontainable uncontainable Senior editor & artiStic director Lanfranco Aceti editor & curator Özden Şahin Associate editor Andrea Ackerman 17th International Symposium on Electronic Art ISEA2011 Istanbul 14–21 September 2011 Istanbul, Turkey imprint Catalog of the 17th International Symposium on Electronic Art ISEA2011 Istanbul This publication appears on the occasion of the ISEA2011 Istanbul, 17th International Symposium on Electronic Art, 14-21 September 2011. ISSN: 1071-4391 ISBN: 978-1-906897-19-2 Senıor editor and artiStic director Lanfranco Aceti editor and curator Özden Şahin Associate editor Andrea Ackerman art dırector Deniz Cem Önduygu assıStant deSigner Zeynep Özel © 2011 Leonardo/ISAST, ISEA Foundation, Sabanci University and Goldsmiths, University of London. All rights reserved. un- No part of this publication may be reproduced without prior written permission of one of the publishers: Leonardo/ISAST, ISEA Foundation, Sabanci University or Goldsmiths, University of CONTAIN- London. Individual authors of papers and presentations are solely responsible for all material submitted for the publication and for uncontainable uncontainable uncontainable uncontainable copyright clearance. All opinions expressed in the book are of aBLe the authors and do not reflect those of the editors. Senior
    [Show full text]
  • 288389725.Pdf
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository This item was submitted to Loughborough University as an MPhil thesis by the author and is made available in the Institutional Repository (https://dspace.lboro.ac.uk/) under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Loughborough University School of the Arts Richard Hamilton a “multi-elusive” artist of the modern world? By Andrew Kim Tyler - A379598 A Masters Thesis Submitted in partial fulfilment of the requirements for the award of Master of Philosophy of Loughborough University 2011 by Andrew Kim Tyler 2011 Volume I Thesis & Bibliography 1 Richard Hamilton a “multi-elusive“1 artist of the modern world? Richard Hamilton was born on the 24th February 1922, throughout his adult life he has been an artist, who has taught, who has made exhibitions, who has sought to engage with the most up to date technology, who has studied the theories and works of Marcel Duchamp and most importantly has accurately reflected the world in which he has lived. Hamilton has been broadly categorised throughout his career by two images, the small poster he designed for the This is Tomorrow2 exhibition and the spectre of Marcel Duchamp as the epitome of the avant-garde artist. The first secured the myth that Hamilton is the ‗founding father‘ of Pop Art and the second that Hamilton would provide, for many, a gateway to an understanding of Duchamp.
    [Show full text]
  • Days Like These Teachers' Pack
    Days Like These The Tate Triennial Exhibition of Contemporary British Art 2003 at Tate Britain 26 February - 26 May 2003 Notes for All Teachers by Angie MacDonald Jim Lambie, Zobop, 1999 Courtesy Sadie Coles HQ, London and The Modern Institute, Glasgow © The Artist and Sadie Coles HQ Fragility of works Please note that many of the works in this exhibition are made from fragile materials and damage easily. The plaster casts of buildings by Rachel Whiteread in the Duveen sculpture galleries and David Batchelor's electric colour tower are particularly fragile. Please do not touch any works in this exhibition. Contents • Introduction • Days Like These: some facts and questions • Questions to consider • Themes and issues • Resources and further research • Topics and activities for primary groups • Key work cards (available from the Groups and Events Desk in the Rotunda) Nathan Coley: Lockerbie Witness Box (exhibition version) 2003 Ian Davenport: Untitled Poured Lines (Tate Britain) 2003 Peter Doig: 100 Years Ago 2000 Jim Lambie: Zobop 2003 Mike Marshall: Days Like These 2003 Susan Philipsz: Songs Sung in the First Person on the Themes of Release, Sympathy and Longing 2003 Rachel Whiteread: Untitled (Rooms) 2001 Introduction Days Like These, the second Tate triennial exhibition of contemporary British art, presents work by 23 British artists from different generations. The exhibition, which includes painting, drawing, photography, installation, sculpture, video and sound, demonstrates the variety of visions and voices in contemporary British art. Most of the artists' work can be seen inside in the exhibition galleries on level 2 of Tate Britain. However, some work is shown outside the building, including the sculpture court.
    [Show full text]
  • Emerging Artists 1978-1986
    EMERGING ARTISTS 1978-1986 I SELECTIONS FROM THE EXXON SERIES EMERGING ARTISTS 1978-1986: SELECTIONS FROM THE EXXON SERIES Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/emergingartists100wald EMERGING ARTISTS 1978-1986 SELECTIONS FROM THE EXXON SERIES BY DIANE WALDMAN This exhibition is funded by a grant from the National Endowment for the Arts. Additional support has been provided by Enichem Americus, Inc., and the Grand Marnier Foundation. SOLOMON R. GUGGENHEIM MUSEUM, NEWYORK Library of Congress Cataloging-in-Puhlication Data Waldman, Diane. Emerging Artists 19-8-1986. Catalogue of an exhibition at the Solomon K. Guggenheim Museum. Bibliography: pp. 80-138, passim 1. Art. Modern — 20th century — Themes, motives- Exhibitions. I. Exxon Corporation. II. Solomon R. Guggenheim Museum. III. Title. N(i48-.N'4S(S46 198- 709'.04'8o740i47i 87-17596 ISBN 0-89Z07-063-6 TABLE OF CONTENTS EXXON EXHIBITIONS AND PARTICIPATING ARTISTS PREFACE THOMAS M MESSER ACKNOWLEDGMENTS THOMAS M . MESSER 13 EMERGING ARTISTS 1978-1986: SELECTIONS FROM THE EXXON SERIES DIANE WALDMAN 16 CATALOGUE 25 ARTISTS' BIOGRAPHIES, SELECTED ONE-PERSON EXHIBITIONS AND SELECTED BIBLIOGRAPHIES 80 PHOTOGRAPHIC CREDITS 140 INDEX OF ARTISTS IN THE CATALOGUE 141 EXXON EXHIBITIONS AND PARTICIPATING ARTISTS Young American Artists: 1978 Exxon National Exhibition Organized by Linda Shearer Siah Armajani, Scott Burton, John Egner, Denise Green, Bryan Hunt, Marilyn Lenkowsky, Robert Lawrance Lobe,
    [Show full text]