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Victoria Morton the Modern Institute, Aird's Lane 08
Victoria Morton The Modern Institute, Aird’s Lane 08 November 2014 – 17 January 2015 Victoria Morton’s practice has encompassed painting, sculptural assemblages, found objects, photography, and sound. Her recent paintings vary in scale, opacity, colour and spatiality, each distinctly painted composition has been developed with a degree of intricacy and intuition. Influenced by musical composition, colour perception, and everyday life, alongside personal narratives, historical and cultural references, Morton’s works explore a continuously unfolding visual, spatial and psychological experience. Within her paintings she re-evaluates the complexity of visual representation and physical experience through a combination of layering, fragmentation and movement. Each painting works through the mental exercise of creating, disrupting, reforming and extending compositions. This technique builds a sense of time into her work. Morton’s exhibition at Aird's Lane focuses entirely on painting. Presenting a cycle of five large-scale oil paintings which specifically respond to the space in terms of their size and installation, offering a site for reflection. Each painting forms a narrative with the next. These works softly draw upon issues of health, the science of optics and light, and the idea of ‘free will’, as well as notions of representation. With washes of colour and variation in tone, line and brush stroke, individual paintings present a range of different attitudes and intensities within the framework of the installation. Luminous thin layers of paint draw you in, while concentrated, spontaneous compositions require you to step back. Morton’s areas of interest are explored through the filter of her daily life and rely on both photography and impulse. -
Jim Lambie Education Solo Exhibitions & Projects
FUNCTIONAL OBJECTS BY CONTEMPORARY ARTISTS ! ! ! ! !JIM LAMBIE Born in Glasgow, Scotland, 1964 !Lives and works in Glasgow ! !EDUCATION !1980 Glasgow School of Art, BA (Hons) Fine Art ! !SOLO EXHIBITIONS & PROJECTS 2015 Anton Kern Gallery, New York, NY (forthcoming) Zero Concerto, Roslyn Oxley9 Gallery, Sydney, Australia Sun Rise, Sun Ra, Sun Set, Rat Hole Gallery, Tokyo, Japan 2014 Answer Machine, Sadie Coles HQ, London, UK The Fruitmarket Gallery, Edinburgh, Scotland 2013 The Flowers of Romance, Pearl Lam Galleries, Hong Kong! 2012 Shaved Ice, The Modern Institute, Glasgow, Scotland Metal Box, Gerhardsen Gerner, Berlin, Germany you drunken me – Jim Lambie in collaboration with Richard Hell, Arch Six, Glasgow, Scotland Everything Louder Than Everything Else, Franco Noero Gallery, Torino, Italy 2011 Spiritualized, Anton Kern Gallery, New York, NY Beach Boy, Pier Art Centre, Orkney, Scotland Goss-Michael Foundation, Dallas, TX 2010 Boyzilian, Galerie Patrick Seguin, Paris, France Jupiter Artland, Edinburgh, Scotland Metal Urbain, The Modern Institute, Glasgow, Scotland! 2009 Atelier Hermes, Seoul, South Korea ! Jim Lambie: Selected works 1996- 2006, Charles Riva Collection, Brussels, Belgium Television, Sadie Coles HQ, London, UK 2008 RSVP: Jim Lambie, Museum of Fine Arts, Boston, MA ! Festival Secret Afair, Inverleith House, Ediburgh, Scotland Forever Changes, Glasgow Museum of Modern Art, Glasgow, Scotland Rowche Rumble, c/o Atle Gerhardsen, Berlin, Germany Eight Miles High, ACCA, Melbourne, Australia Unknown Pleasures, Hara Museum of -
Mainstreaming the Equality Act Progress Report on the Delivery of The
Mainstreaming the Equality Act Progress report on the delivery of the aims of the general duty of the Equality Act 2010 National Museums Scotland 2017 Published 28 April 2017 1 Welcome National Museums Scotland’s vision sets out our aspiration: “…Inspiring people, connecting Scotland to the world and the world to Scotland.” Visitors are at the heart of our work and ensuring all our visitors have an opportunity to engage with our collections; participate in our learning programmes and enjoy their experience is a responsibility to which we attach great importance. We are proud that our commitment has been reflected in our proven track record of providing wider access. Our service is realised through guiding strategies and policies and brought to life by the creativity, commitment and talent of our workforce, both paid and voluntary. I thank them all for their contribution to our visitor and stakeholder experiences. To build on our success we continue to lead and develop our staff and volunteers to realise their potential and the potential of National Museums Scotland. This is our third Mainstreaming Report and it outlines our approach to embedding equality and diversity in our day-to-day work, whilst harnessing the step changes made by some specific projects in relation to community engagement, digital access and capital project work in terms of access and engagement with our collections, and participation with our programmes. This report concludes the reporting period of our Equalities Outcomes 2013-2017 and the actions and activities we set ourselves four years ago. It shows how far we have come in terms of mainstreaming our equalities work within our processes and culture; provides reflection on recent consultation feedback and organisational data, and proposes our future Equalities Outcomes priorities for the period 2017-2021. -
220719 Media Release 2019 Female Artist Acquistions FINAL
Media Release 25 July 2019 From Claire Francis Phone: 0141 287 5548/ 07393 287295 Email: [email protected] GLASGOW MUSEUMS TACKLES GENDER EQUALITY IN CONTEMPORARY ART COLLECTION WITH NEW ACQUISITIONS BY LOCAL AND INTERNATIONAL FEMALE ARTISTS Glasgow Museums is delighted to announce 14 recent acquisitions for the city’s fine art collection which include sculpture, video, painting and works on paper by artists Sara Barker, Kate Charlesworth, Michelle Hannah, Sharon Hayes, Winnie Herbstein, Mandy McIntosh and the Feegie Needlers, Carol Rhodes, Kate V Robertson, Anne Robinson, Siân Robinson Davies and Camara Taylor. Acquired as part of a significant strand of Glasgow Museums collecting approach, developed in 2015 to address gender inequality, these works make an unequivocal statement about the value and quality of work by contemporary women and non-binary artists. The new acquisitions increase the number of works by women in the Glasgow Museums’ fine art collection, which already includes internationally renowned artists Karla Black, Christine Borland Anne Collier, Jacqueline Donachie, Jenny Holzer, Barbara Kruger, Victoria Morton, Charlotte Prodger and Hito Steyerl. These recent acquisitions have been made possible through the support of a number of grant funders and organisations supporting the development of public collections. Of particular importance is acquisition of the capsule collection of work by Carol Rhodes (1959 -2018) which includes the painting Land Levels and Rises. Although Rhodes was one of the most respected and admired painters in Scotland, her work was until now not represented in the civic collection of Glasgow, the city where she lived and worked. The acquisition of this painting, and a subsequent generous gift of a framed drawing and three prints, acknowledge her contribution to visual art in the city and her standing as a key British painter of the late 20th and early 21st century. -
FULL ATTENDEES Individuals
Contemporary Collections and Collecting in Scotland Series Record of Attendence Individuals First name Surname Organisation Position Jennifer Melville Aberdeen Art Gallery Keeper of Fine Art Liesbeth Bik Artist Christine Borland Artist Rose Frain Artist Jos van der Pol Artist Gerrie van Noord Artist Pension Trust, London Co-Director Andrew Brown Arts Council England Senior Strategy Officer - Visual Arts Louise Shelley Centre for Contemporary Art, Glasgow Head of Programmes Kate Gray Collective Gallery, Edinburgh Director Jenny Crowe Consultant Moira Jeffrey Consultant Kirstie Skinner Consultant Elaine Martay Cultural Strategy and Diplomacy Team, Scottish GoveInternationalrnment Policy Mark O'Neill Culture Sport Glasgow Head of Arts and Museums Ben Harman Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Victoria Hollows Culture Sport Glasgow / Gallery of Modern Art, GlasgowMuseum Manager Sean McGlashan Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Margaux Achard Culture Sport Glasgow/ Kelvingrove Jenny Brownrigg Duncan of Jordanstone College of Art and Design Exhibitions Curator Edwin Janssen Duncan of Jordanstone College of Art and Design Artist/Academic Leader Laura Simpson Duncan of Jordanstone College of Art and Design Assistant Curator, Exhibitions Graham Domke Dundee Contemporary Arts Curator Clive Gillman Dundee Contemporary Arts Director Judith Winter Dundee Contemporary Arts Deputy Director and Head of Programmes Joanne Brown Edinburgh Art Festival Director Ian -
8Pm Tramway, Glasgow Think of a Relationship As a Rhythm
, 1975–76. COURTESY, 1975–76. OF THE ARTISTS ABYRINTHE L DOUBLE DOUBLE I, K ADA M HO T MARIA KLONARIS & KATERINA KATERINA & KLONARIS MARIA A M I F 2017 SAT 11 NOV SUN 12 Nov 10.30AM – 6PM 11A M – 8PM TRAMWAY, GLASGOW Think of a relationship as a rhythm. You list the generic activities that could comprise ours. We might eat, read, walk, watch, rest, even sleep together. More than these bare, shared facts, however, our association is a system of negotiation. It is shaped as much from stubbornness as generosity, comprised more of willfulness than compromise. As we begin to speak about programming this festival together, I tell you about a film from 1982, in which three women reflect on the breakdown of their romantic relationship, riffing off the genre of a melodrama. You respond with a text that describes two young girls rehearsing a sex scene from a Hollywood film in the bathroom of a suburban home. We exchange messages about the patterns of our days, about illness, tiredness, annoyances, heartache. I write to tell you that I am fed up with work, fed up with the pressure to produce, fed up with discussions about care taking place in institutions that do anything but that. Like other forms of minor speech, complaints carve out a kind of intimacy between us. But meeting together by a large expanse of water one day, we find ourselves talking about desire instead. Think of a relationship as a thing that need not – for anyway it never really does – begin or end with two. -
Gagosian Gallery
The Irish Times August 19, 2014 GAGOSIAN GALLERY The Artistic Vision of Scotland’s Golden Generation The quality and scale of Generation: 25 Years of Art in Scotland, which shows over 100 artists in over 60 venues, is impressive Declan Long ‘Pretty Much’ by Douglas Gordon This summer, in advance of Scotland’s independence vote, an outstanding example of independent Scottish thinking has been on show at Glasgow’s Gallery of Modern Art. Illuminating the ground floor of this grand neoclassical museum is Pretty Much Every Film and Video Work from 1992 to Now, an encyclopaedic survey of the art of Douglas Gordon, clustered and condensed as a single, elaborate installation. Blinking and blaring together in the darkened gallery are more than 100 television monitors. Each one offers an intense cinematic insight into the maverick imagination of this extravagantly inventive Glaswegian. Each one sits on a plinth made from a humble beer crate: global art market meets Glasgow flea market. It’s an apt combination – a pairing of the refined and the rough-edged – both in relation to the distinctive qualities of Gordon’s work and contemporary art from Scotland more generally. Gordon’s anthology contains a potent mixture of highbrow conceptualism and pop-cultural plundering (his most famous work, 24 Hour Psycho, stretches out Hitchcock’s classic chiller to an uncanny and agonising day-long duration). He synthesises references to cinema, music and literature with forceful, unsettling natural imagery, moving between disturbing psychological extremes of dark and light. His Goma megamix is an astonishing display of extraordinary creative diversity and edgy, out-of-the-ordinary artistic effort. -
James Dalrymple (1859 – 1934) Manager of Glasgow Corporation Tramways
James Dalrymple (1859 – 1934) Manager of Glasgow Corporation Tramways 1859 Born at 3 Maskell Street, Chorlton on Medlock, Lancashire, 15th Sep.1859. Parents were James Dalrymple, draper, and Margaret Adams. Baptised : Greenheys United Presbyterian Church, Coupland Street, Hulme, 6th Nov.1859. 1861 Manchester Census : still living at 3 Maskell Street, Chorlton upon Medlock James Dalrymple, age 34, born Manchester, travelling draper, with wife Margaret, aged 34, born Scotland and son James Dalrymple, age 1, born Manchester. 1871 Girthon Census at Boreland of Girthon James Dalrymple, age 11, born England living with William Dalrymple, widower, age 72, born New Luce, Wigtownshire and William's son William, age 37, born England. They were both farmers. James is recorded as a nephew of William senior, but we believe this must be an error, and he is really a grandson of William senior and nephew of William junior. We don’t know why James came to live with his grandparents in Gatehouse, or what happened to his parents. 1880 After receiving schooling at Girthon Parish School, James joined the Union Bank of Scotland in Gatehouse (now the Bank of Fleet Hotel). The bank manager was William Cairns, who seems to have recognised James' abilities and encouraged him to apply for work in one of the bank's Glasgow branches. James is believed to have moved to Glasgow about 1880 (aged c.20) 1881 Glasgow, Barony Census : 196 North Street James Dalrymple, age 21, born England, bank clerk, lodging with the Stevenson family. 1881 James left the bank and moved to the office of the City Chamberlain of Glasgow. -
Queens Park Music Club
Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop. -
Transport and Technology
Transport and Technology Collections 1 Introduction The Transport and Technology Collections reflect the leading role played by Glasgow and the West of Scotland in advances made in scientific enquiry and industrial production. The technology collections were first developed for the opening of the City Industrial Museum in 1870. This was intended to highlight the output of Glasgow’s industries and included samples and models from the important chemical, textile, locomotive and shipbuilding firms in the area. There were also examples of innovations in the making of optical and scientific instruments and communications technology. The museum displayed Glasgow’s civic pride in its scientific and industrial achievements and provided a prestigious front window for its products. It also played an important didactic role in teaching Glasgow’s young citizens about engineering and technology. Many of the collections were loaned and often replaced by newer more impressive exhibits. Even items formally acquired into this collection were regarded with the same spirit of renewal and were often discarded in favour of more representative examples of modern industry. Although much has been lost there is still much of great interest that has survived from the early days of the museum. This is partly as a result of industrial failure when loaned material from failed companies was retained and eventually assimilated into the core collections. Such a direct relationship between the city’s industries and the museum collections gives them an added degree of significance. This is particularly true of the outstanding ship and marine engineering models. The Clyde was at the forefront of revolutionary change in the shipbuilding industry so not only is the collection a truly representative sample of the Clyde’s output, it also represents an important period of ship design and building that is unsurpassed anywhere in the world. -
Graeme Todd – Resume
Graeme Todd – Resume BORN: 1962 Born in Glasgow RESIDENCE: Dunbar, East Lothian, U.K. EDUCATION: John Florent Stone scholar, Edinburgh College of Art, 1989-1990 Duncan of Jordanstone College of Art, Dundee, 1979-1985 SOLO EXHIBITIONS: 2018 Street Hermit, Summerhall, Edinburgh Graeme Todd, Laure Genillard Gallery, London Street Hermit, Galleria Alessandra Bonomo, Rome 2015 The View from Now Here, Eagle Gallery, London 2013 New Works, Galleria Allesandra Bonomo, Rome 2012 New Works, Guestroom, Brussels 2010 Blank Frank, Mummery + Schnelle, London 2009 Other Side Of The Sky, Gallerie Brigitte Weiss, Zurich Laure Gennilard Presents Graeme Todd, Guest Room, Brussels 2007 K.W.A.N.G, Galerie Brigitte Weiss, Zurich 2006 Galerie S65, Cologne Galleria Alessandra Bonomo, Rome 2005 Hanshin Loop, Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich The Seeing Field, Edinburgh Printmakers Gallery 2004 Osaka Contemporary Art Centre, Osaka Angles Gallery, Santa Monica 2003 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2002 Galleria Alessandra Bonomo, Rome Kunsthaus, Glarus Galleria Bonomo, Bari 2001 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2000 Gallery Side 2, Tokyo Landscapes, Galleria Bonomo, Rome Mount Hiddenabbys, Fruitmarket Gallery, Edinburgh and Leeds Metropolitan University Gallery, Leeds 1998 Andrew Mummery Gallery, London 1997 From Not Island Made Island, the changing room, Stirling 1994 Collective Gallery, Edinburgh 1993 Bower, Pier Arts Centre, Stromness 1989 Seagate Gallery, Dundee SELECED GROUP -
Download Press Release
Sadie Coles HQ Victoria Morton Sadie Coles HQ, 1 Davies Street Pedal Point February 2021 Victoria Morton’s solo exhibition, Pedal Point, comprises a new body of work on canvas in which she distils her multi- layered and analytic approach to painting. Referencing the musical notion of the ‘pedal point’ – a sustained note, during which the harmony and dissonance above it evolve – these recent compositions synthesise rational structure with intuitive expression. Across large and small-scale formats, the canvasses extend the conscious explorations central to Morton’s physical, performative process, counterbalanced with psychological expression. Through this approach, pictorial planes are mapped and contoured through aggregates of freely formed pools of colour, interwoven with linear structures and accumulations of near-pointillist brushstrokes. Shifting between the fluid and the concrete, these abstracted landscapes teem with kinetic tension and desire, simultaneously conjuring, and eluding, literal interpretation. In places Morton engages a loosely defined schemata, examining notions of organic form through the material process of painting itself. Developing techniques that evolved in connection with a recent commission by The Stem Cell Institute in Cambridge, the artist allows pools of oil paint to naturally amass, swell and evaporate across the canvas surface, creating a suspended image parallel to that of a developing photograph. The emergent cellular formations evolve as cosmic landscapes, in which space dilates, shifts, recedes and contracts. Elsewhere improvised ‘automatic’ markings, inspired by musical notations, are reconfigured by networks of diagrammatic or clustered brushstrokes, interpolating the abstract scenery with a spatial rationale of dance-like movement. Morton consciously references a painting lineage that extends from American action painting, biomorphic abstraction, Russian Constructivism and the geometric De Stijl aesthetic of Mondrian.