DOCSLIB.ORG

Scottish Art at Auction Booms Artwork 185 September/October 2014 Page 2 Artwork 185 September/October 2014 Page 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scottish Art at Auction Booms Artwork 185 September/October 2014 Page 2 Artwork 185 September/October 2014 Page 3 The North*s Original Free Arts Newspaper + www.artwork.co.uk Number 185 Pick up your own FREE copy and find out what’s really happening in the arts September/October 2014 Stained glass window by M.H. Baillie Scott, at Blackwell, Cumbria, from a new book, Arts and Crafts houses in the Lake District, just published. Inside: Scottish art at auction booms artWORK 185 September/October 2014 Page 2 artWORK 185 September/October 2014 Page 3 OCTOBEROCTOBER 2014 2014 artWORK 184 July/August 2014 Page 4 artWORK 184 July/August 2014 Page 5 Earth, wind and Fruitmarket Editorial Comment DESCRIBED as a shape, Digital (1999). ArtWork PO Box 3 AB41 9EA :: [email protected] The selected retrospective of This is echoed work made from 1996 in Two Shirts (1996) Guide to the present day, The which, as the name Is this the time to federate? ists working here STARFISH STUDIO, 3 Anchor Fruitmarket Gallery’s suggests, are two shirts 476 482, www.angus.gov.uk/ Aberdeen Lane, Johnshaven, DD10 0EN, history/museums/meffan/exhibi- THIS ISSUE of ArtWork is being mentioned not just this 01561 360 118, www.starfishstu- exhibition presents the covered in duct tape, ABERDEEN ART GALLERY tions.htm, the.meffan@angus. Ayr born into a somewhat feverish uncomfortable (for a socialist) dio.co.uk, kate@starfishstudio. art of the internationally one silver and one black, gov.uk & MUSEUM, Schoolhill, AB10 co.uk MACLAURIN ART GALLERY, atmosphere – just a week or so tendency, but also cast a much 1FQ, 01224 523 700, Fax: 01224 Original art and handmade renowned artist Jim these have been folded November 15 - January 3 Rozelle Estate, Monument Road, 632 133, www.aagm.co.uk, info@ ceramics, jewellery, glass, 2015 KA7 4NQ, 01292 443 708, www. before the northern part of the needed critical eye on some of aagm.co.uk Lambie. and mounted on the Winter Exhibition. Open to all SCOTTISH SCULPTURE south-ayrshire.gov.uk/galleries/ Until September 27 Glaswegian Lambie, wall. artists resident in Scotland maclaurin/ UK decides whether it wants to the prime movers behind the Kaffe Fassett. 50 Years in WORKSHOP, 1 Main Street, Lumsden, Huntly, AB54 4JN, who came to prominence THE CANVAS ART GALLERY, Ongoing break up the marriage. drive for separatiom. Colour. 01464 861372, Fax: 01464 861 At this point a 81 East High Street, Forfar, DD8 Craft Shop. A superb range of Until November 29 550 in the late 1990s, was a 2EQ, 01307 465 715 unique crafts & gifts News comes in of the pound Referring to the what he Saturday Night Fever Originals, prints, quality picture Marion Patterson’s Medals. SYLLAVETHY GALLERY, Until September 22 tumbling and businesses with called the ‘three poster boys’ ABERDEEN MARITIME member of the band The pitch is starting to framing. Unusual giftware and Hannah Frank. Drawings and Syllavethy, Montgarrie, Alford, jewellery MUSEUM, Shiprow, AB11 5BY, AB33 8AQ, 01975 562 273 Boy Hairdressers. After materialise. A poster of Sculpture a strong Scottish connection behind the Nationalist thrust 01224 337700, Fax: 01224 213066 TOLQUHON GALLERY, his departure to study art the disco group Earth, KINBLETHMONT GALLERY, Benno Schotz & Contemporar- seeing their share prices diving (Messrs McColl, Mathewson GRAYS SCHOOL OF ART, Rob- Tolquhon, Tarves, Ellon, AB41 Arbroath, DD11 4RW, 01241 830 ies. Cultural Connections. ert Gordon University, Garthdee 7LP, 01651 842 343, www. they went on to become Wind, and Fire helps 756, www.kinblethmontgallery. October 5 - November 2 downwards. and Souter) he labelled them a Road, AB10 7QB, www.rgu.ac.uk tolquhon-gallery.co.uk co.uk, kinblethmont@btinternet. Save the Children. Wide range the highly successful this along; it has been com How has it got to this? Has ‘tax exile’ (Mr McColl prefers GALLERY HEINZEL, 24 This- September 7 - October 7 of work by Ayrshire and south tle Street, AB10 1XD, 01224 625 Teenage Fanclub. As well October 11 - 26 west artists The Lonely Sea and the Sky customised with black Poppy Cyster, Volker Gebhard, there been some woolly thinking the balmy climate of Monaco 629, www.galleryheinzel.com TOUCHED BY SCOTLAND, November 9 - February 22, as this Lambie has been paint and hung upside Jean Hall, Maggie Milne, about the future governance to that of Peterhead), a ‘Tory Ryehill, Oyne, AB52 6QS, 01464 Morag Muir and William Philp. 2015 September 23 - October 4 851 489, www.touchedbyscotland. a dj for many years so his down. Then there is A Mixed Exhibition. The Maclaurin Collection. A not just of Scotland, but of the banker’ (Sir George comes from Kirstie Cohen. com, info@touchedbyscotland. Celebration work is firmly rooted in Roadie (1999) a black, OATHLAW POTTERY & GAL- whole of what we call the United that illustrious lineage) and ‘the HOLBURN GALLERY, 83 com ROZELLE HOUSE GALLER- Holburn Street, AB10 6BQ, music and youth culture. glittery record deck LERY, Oathlaw, Forfar, DD8 THE MUSEUM OF SCOTTISH 3PQ, 01307 850 272 IES, Rozelle Park, Monument Kingdom? arch-exploiter of Thatcherite 01224 596 617 LIGHTHOUSES, Kinnaird The exhibition with rotating turntable, Road, KA7 4NQ, 01292 443 708, Limited edition prints by many Head, Fraserburgh, AB43 9DU, CRAFTS OF ANGUS SHOW- www.south-ayrshire.gov.uk/gal- Ever since its leaking roofs privatisation’, Sir Brian Souter of Gallery Heinzel’s artists 01346 511 022 is fairly sparse for a underneath hangs an CASE AND SHOP, The Old leries/rozellehouse/ Stable Block, House of Dun, and ill-fitting windows were of the Stagecoach empire. ROSIES, 45-49 Holburn Street, Purpose-built museum with Craft Shop - Range of unique multi-screen technology. retrospective, however, array of multicoloured Montrose, DD10 9LQ, 01674 crafts and gifts first cobbled together into a Wilson recalled how AB10 6BR, 01224 577 325 810379, www.craftsofangus.co.uk Crafts, art and gifts also PETERHEAD MARITIME Lambie’s trademark piece clothes hangers. Contemporary and Designer. Ongoing parliament building, the talk the Monopolies and Mergers Summerhall – busy arts centre with a friendly pub (above) at its heart framing Goudie Collection. HERITAGE, South Road, Peter- Zobop (1999-2014) makes Stakka (2000), a Handcrafted Goods. House of PEACOCK VISUAL ARTS, 21 head, AB42 2UP, 01779 473000 Jim Lambie, The Fruitmarket Gallery 2014, Ruth Clark Dun By Montrose September 13 - October 26 has been of granting ever wider Commission had described the Castle Street, AB11 5BQ, 01224 Experience Peterhead’s mari- up for this as it entirely covers half the stairway and floor installation/sculpture of customised vinyl Footsteps. Life Journeys time life past and present SPRINGFIELD CREATIVE Through Shoes powers to Holyrood. process by which the bus group 639 539, www.peacockvisualarts. upper floor of the gallery. It is composed of what is record sleeves adds to the teenage bedroom idea. ARTS, Dr. Fran Marquis, 4 co.uk, info@peacockvisualarts. ORB’S BOOKSHOP, 33a Deve- No proper analysis of how eliminated local competition Summerhall – 36 months on Springfield Terrace, Arbroath, co.uk thought of as humble material, that is, multi-coloured However, this is not an environment stuck in time. ron Street, Huntly, AB54 8BY, DD11 1EL, 01241 439 714, Ayrshire these powers have been used, no as ‘predatory, deplorable and IT WAS LATE on an August evening when the call came through: pounds to put on and was shunted off to a room at the end of a long Until September 20 01466 793 765 vinyl tape. The effect is one of a tripped-out Bridget Instead, it comes across as absolutely part of now, www.franmarquis.co.uk, info@ Alexander Moffat. Paintings as RIVERSIDE GALLERY, The franmarquis.co.uk COCKBURN GALLERY, 41 detailed scrutiny of the quality against the public interest.’ “This Summerhall place, the Edinburgh Arts Centre run in the old passage – they will all tell you that, yes, things could be a lot tighter. Arguments: Riley Op-Art painting, psychedelic, dizzying even. the turntable keeps on turning and Lambie is keen High Street, Maybole, KA19 Riverside Arthouse, Ann Street, Monthly throughout the year of legislation passed, though If the offer of yet further Dick Vet building, I want five hundred words on whether it‘s too And indeed they should be. RENDEZVOUS GALLERY, 100 Stonehaven, AB39 2DA, 01569 Before encountering Zobop, the ground floor to evoke a feeling of perpetual motion. Ceramics Weekends in 7AB, 01655 884 067 Forest Avenue, AB15 4TL, 01224 763 931 Arbroath. Learn to make Pots THE FRAMEWORK GAL- many lawyers throw up their powers for Holyrood wins chaotic or not chaotic enough.” But of course there is the conundrum defined by the clever 323 247 NORTH EAST OPEN STU- gallery consists of two pieces, Shaved Ice (2012-14) The idea that it conveys is one of the on a Wheel; Create Handbuilt LERY, 83 Portland Street, Troon, I made no attempt to answer the editor’s question there and then, original question that had been put to me. PROVOST SKENE’S HOUSE, DIOS, NEOS Coordinator, 107 Sculptures; KA10 6QU, 01292 316 144 hands when faced with actually the day and the cracks in the and a DVD entitled Ultraflow (2007). Shaved Ice is continuations of culture, that is, even though certain Continuous mix of original but just set off on my company bicycle to the great Edwardian rabbit After all, Prof Macdowell, who is the director and money man Guestrow, (between Broad Street Selbie Drive, Inverurie, AB51 working with it. national structure are patched up and Flourmill Lane), AB10 3YB, 01467 670 122 like a forest of brightly coloured ladders in the palette music, clothes and artefacts belong to a past era, paintings and printwork by a warren that scowls over the Meadows. behind the whole thing, isn’t a general and if he behaved like one there 1AS, 01224 641 086, Fax: 01224 September 6 - 14 of the DIY store, some are fluorescent and there is still they are the building blocks on which the culture of Argyll variety of artists Worse still, there appears once more, will this really be the Too chaotic or not chaotic enough? I was soon repeating the would be far less creativity.
Load more

Recommended publications
  • National Collecting Scheme Scotland National
    National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008.
    [Show full text]
  • 'The Neo-Avant-Garde in Modern Scottish Art, And
    ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object.
    [Show full text]
  • Argyll & the Isles
    EXPLORE 2020-2021 ARGYLL & THE ISLES Earra-Ghàidheal agus na h-Eileanan visitscotland.com Contents The George Hotel 2 Argyll & The Isles at a glance 4 Scotland’s birthplace 6 Wild forests and exotic gardens 8 Island hopping 10 Outdoor playground 12 Natural larder 14 Year of Coasts and Waters 2020 16 What’s on 18 Travel tips 20 Practical information 24 Places to visit 38 Leisure activities 40 Shopping Welcome to… 42 Food & drink 46 Tours ARGYLL 49 Transport “Classic French Cuisine combined with & THE ISLES 49 Events & festivals Fáilte gu Earra-Gháidheal ’s 50 Accommodation traditional Scottish style” na h-Eileanan 60 Regional map Extensive wine and whisky selection, Are you ready to fall head over heels in love? In Argyll & The Isles, you’ll find gorgeous scenery, irresistible cocktails and ales, quirky bedrooms and history and tranquil islands. This beautiful region is Scotland’s birthplace and you’ll see castles where live music every weekend ancient kings were crowned and monuments that are among the oldest in the UK. You should also be ready to be amazed by our incredibly Cover: Crinan Canal varied natural wonders, from beavers Above image: Loch Fyne and otters to minke whales and sea eagles. Credits: © VisitScotland. Town Hotel of the Year 2018 Once you’ve started exploring our Kenny Lam, Stuart Brunton, fascinating coast and hopping around our dozens of islands you might never Wild About Argyll / Kieran Duncan, want to stop. It’s time to be smitten! Paul Tomkins, John Duncan, Pub of the Year 2019 Richard Whitson, Shane Wasik/ Basking Shark Scotland, Royal Botanic Garden Edinburgh / Bar Dining Hotel of the Year 2019 Peter Clarke 20ARS Produced and published by APS Group Scotland (APS) in conjunction with VisitScotland (VS) and Highland News & Media (HNM).
    [Show full text]
  • Craft Generation Booklet CLAIRE BARCLAY
    CLAIRE BARCLAY Untitled Element from ‘Shadow Spans’ by Claire Barclay 2010 Shellac, calico, fur felt 22cm x 18cm x height 24cm From the installation work ‘Shadow Spans’ at The Whitechapel Gallery, London. The installation reflected on the nature of liminal spaces on the boundaries of indoors and outdoors, for example, the porch, the entrance, windows and doors, the pavement etc. The sculptural components were in some way exploring aspects of the transitions we experience between private and public space. This hat-like form suggestive of a shift from formal to informal when removed at the point of entering a building. It is also abstracted from its familiar form and so made odd and dysfunctional. 3 CLAIRE BARCLAY Where are you based? Based in Glasgow - work in the Glasgow Sculpture Studios, Glasgow Print Studio, studio at home, work with other fabricators, engineering company, saddlers, fabric printing facilities. What is your definition / the definition you prefer of craft? Craft is present in all disciplines where hand skills evolve over time through the exploration of and fascination with particular tasks, whether practical or absurd, traditional or improvised. How does craft relate to your practice as an artist? I don’t consciously think of myself as craft- ing while I am making, as I do not have a specific goal in mind. The materials and processes I use are determined more often by the context in which I am working. I try to use each project as an opportunity to learn more skills but if the skills needed are beyond my ability, I need to work in collaboration with experts in order to realize the work.
    [Show full text]
  • List of Scottish Museums and Libraries with Strong Victorian Collections
    Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish
    [Show full text]
  • Scottish Art: Then and Now
    Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.
    [Show full text]
  • Henry Moore Grants Awarded 2016-17
    Grants awarded 2016-17 Funding given by Henry Moore Grants 1 April 2016 – 31 March 2017 New projects Pallant House Gallery, Chichester, Exhibition: The Mythic Method: Classicism in British Art 1920-1950, 22 October 2016-19 February 2017 - £5,000 Fundação Bienal de São Paulo, Exhibition: Heather Phillipson and Ruth Ewan's participation in 32nd Bienal de São Paulo - Live Uncertainty, 7 September-11 December 2016 - £10,000 Serpentine Gallery, London, Exhibition: Helen Marten: Drunk Brown House, 29 September-20 November 2016 - £7,000 Auto Italia South East, London, Exhibition: Feral Kin, 2 March-9 April 2017- £2,000 Art House Foundation, London, Exhibition: Alison Wilding Arena Redux, 10 June-9 July 2016 - £5,000 Parasol Unit Foundation for Contemporary Art, London, Exhibition: Robert Therrien: Works 1975- 1995, 2 October-11 December 2016 - £5,000 South London Gallery, Exhibition: Roman Ondak: The Source of Art is in the Life of a People, 29 September 2016-6 January 2017 - £7,000 York Art Gallery (York Museums Trust), Exhibition: Flesh, 23 September 2016-19 March 2017 - £6,000 Foreground, Frome, Commissions: Primary Capital Programme: Phase 1, 8 September 2016-31 January 2017 - £6,000 Barbican Centre Trust, London, Exhibition at The Curve: Bedwyr Williams: The Gulch, 29 September 2016-8 January 2017- £10,000 Glasgow Sculpture Studios, Exhibition: Zofia Kulik: Instead of Sculpture, 1 October-3 December 2016 - £5,000 Tramway, Glasgow: Exhibition/Commission: Claire Barclay: Yield Point, 10 February-9 April 2017 - £3,000 Nasher Sculpture Center,
    [Show full text]
  • Exhibitions & Art Fairs Exhibiting
    Dan Klein Associates Promoters Of Contemporary Glass. (Alan J. Poole) 43 Hugh Street, Pimlico, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] Website: www.dankleinglass.com Alan J. Poole’s Contemporary Glass News Letter. A monthly, group email listing information relating to British & Irish Contemporary Glass Artist’s events and activities. Featuring Artists based at home or abroad and also foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. April Edition. * - indicates new or amended entries since the last edition. 01/10/1104/04/12. “Contemporary Glass In Foreign Countries”. inc: Jiří Harcuba, Gillian Mannings Cox, Zora Palová, Ronald Pennell, Stephen Procter, Colin Reid & Mare Saare. Koganezaki Glass Musem. Koganezaki Crystal Park Co. Ltd. Shizuoka-ken. J. Tel: 00 81 558 551 515. Fax. 00 81 558 551 522. Email: [email protected] Website: www.kuripa.co.jp 20/11/1115/04/12. “21st. Century Icons”. Mixed Media Touring Exhibition. inc: Emma Bourke & Róisín De Buitléar. Ccol National Craft Gallery. Kilkenny./Rathfarnham Castle. Dublin. IRL. Tel: 00 353 1 493 9462. Email: [email protected] Website: www.heritageireland.ie/en/Dublin/RathfarnhamCastle 08/12/1101/04/12. “The Tool At Hand”. Mixed Media Exhibition. inc: Tavs Jørgensen. Milwaukee Art Museum. Milwaukee (WI). US. Tel: 00 1 414 224 3200. Fax. 00 1 414 271 7588. Email: [email protected] Website: www.mam.org 2012. 17/03/1214/04/12. “The Force & Form Of Memory”. Mixed Media Touring Exhibition. inc: Angela Steel. The Stirling Smith Art Gallery & Museum.
    [Show full text]
  • Dalziel + Scullion – CV
    Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire.
    [Show full text]
  • ASVA Visitor Trend Report, December 2015 Dashboard Summary, December 2015
    ASVA Visitor Trend Report, December 2015 Dashboard Summary, December 2015 Scotland Total Visitor Numbers Usable data was received from 179 sites. The total number of visits recorded in December 2015 was 1,157,383; this compares to 1,154,657 in 2014 and indicates an increase of 0.2%. Excluding Country Parks Month of December 1,157,383 0.2% p ASVA's Commentary and Observations for December 2015 Year-to-Date 25,430,260 3.1% p Please note that figures can only be used when there is comparable data for both years, so if you submitted figures for Including Country Parks 2015 and do not see these in the listing, this is the reason. Month of December 1,586,034 2.1% p The marginal increase of 0.2% shown (excluding Country Parks) brings the year to an end and sees 45% of respondents Per Region noting an increase. Northern Scotland 48,350 -7.2% q December is typically one of the quietest months of the year although in some sites Christmas related activities do boost *Northern Scotland † 47,300 -9.2% q This report was numbers (see New Lanark Visitor Centre). Looking at the dashboard summary, two of the regions show increased visitor Eastern Scotland 702,346 2.3% p produced for ASVA by numbers and two show a decrease. Despite the extremely wet weather (see next paragraph), and for some against the Southern Scotland 30,179 0.7% p odds, several sites did show healthy increases including: Dundee Science Centre (140%), FC Scotland The Lodge Visitor Western Scotland 805,159 2.5% p Centre (36%), Gallery of Modern Art (16%), Highland Wildlife Park (49%), Kelvingrove (11%), Riverside Museum (7%), *Western Scotland † 377,558 -51.9% q Scottish Fisheries Museum (2209%), Scottish National Gallery of Modern Art (67%) and The Real Mary King’s Close (37%) Weather-wise, December was mild with mean temperatures 3⁰C above average.
    [Show full text]
  • 'The Kimono' by Philip Wilson Steer OM, (1894)
    Artwork of the Month December 2020 Philip Wilson Steer OM, The Kimono (1894) Helena Cox, Curator at Beverley Art Gallery and currently completing a Doctorate at the University of York, writes about a small masterpiece gifted to the Gallery by Dean Milner-White Philip Wilson Steer, The Kimono, oil on canvas, 61 x 22.8 cm © York Museums Trust This short essay will explore why The Kimono - this is the title under which the work is listed in the catalogue of oil paintings in D. S. MacColl's Life, Work and Setting of Philip Wilson Steer (1945) - is important for understanding Japonism, and how artists like Steer formed a unique channel of communication between Japan and Europe, transmitting aesthetic ideals, arousing fascination – and spreading misinterpretation! Philip Wilson Steer (1860 – 1942) was a British painter best known for his association with Impressionism. Between 1882 and 1884 he studied in Paris, first at the Académie Julian, then at the École des Beaux-Arts. His student years in Paris left a lasting impact on Steer, leading him to be one of the founders of the New English Art Club in 1886, and to organise, along with Walter Sickert, the first London Impressionist Exhibition in 1889 in the Egyptian Hall, Piccadilly. At this time, Steer was enamoured of light and lively painterly brushstrokes. In 1893 he became an assistant to Frederick Brown at the Slade School, where he taught for almost 40 years. By the year 1900, his style became more conventional, even somewhat contrived, in comparison with his earlier playfulness. The Kimono is one of the hidden gems of York Art Gallery’s collection.
    [Show full text]
  • New English Art Club Friends' Newsletter 10 This Is The
    NEW ENGLISH ART CLUB FRIENDS’ NEWSLETTER 10 THIS IS THE TENTH New English Art Club Friends’ Newsletter, and the last to be produced by the present editors. After five years it is time for a change. There have been some gradual developments since we took it on. The first two numbers, in 2001, were comfortably spacious – there was even room for a drawing on the front page. Since then the available space has steadily filled up, so that recently it has been quite a challenge to fit everything in. When we started we decided to list Members’ exhibitions in diary form, hoping that this would be useful to Friends who wished to know where and when New English work was on show. Quite straightforward, we thought – just ring up each of the Members twice a year and ask where he or she was planning to exhibit during the following six months. Then we found that sometimes they weren’t quite sure of the dates, or the gallery’s name…or the address, or what sort of show it was, or whether there was a title, or a private view. So it seemed a good idea to ring up all the galleries too, just to make sure that everyone agreed about the details. This cross-checking turned out to be essential – and has thrown up many an entertaining confusion. And as a result we have gradually built up quite a large database with details of all the galleries, at home and abroad, where NEAC Members regularly show. The first Exhibitions Diary listed a mere 24 exhibitions.
    [Show full text]