The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
KARLA BLACK Born 1972 in Alexandria, Scotland Lives And
KARLA BLACK Born 1972 in Alexandria, Scotland Lives and works in Glasgow Education 2002-2004 Master of Fine Art, Glasgow School of Art 1999-2000 Master of Philosophy (Art in Organisational Contexts), Glasgow School of Art 1995-1999 BA (Hons) Fine Art, Sculpture, Glasgow School of Art Solo Exhibitions 2021 Karla Black: Sculptures 2000 - 2020, FruitMarket Gallery, Edinburgh 2020 Karla Black: 20 Years, Des Moines Art Centre, Des Moines 2019 Schirn Kunsthalle, Frankfurt Galerie Gisela Capitain, Cologne 2018 The Power Plant, Toronto Karla Black / Luke Fowler, Capitain Petzel, Berlin 2017 Stuart Shave / Modern Art, London Festival d’AutoMne, Musée des Archives Nationales and École des Beaux-Arts, Paris MuseuM Dhondt-Dhaenens, Deurle 2016 Galleria Raffaella Cortese, Milan A New Order (with Kishio Suga), Scottish National Gallery of Modern Art, National Galleries of Scotland, Edinburgh David Zwirner, New York Galerie Gisela Capitain, Cologne 2015 Irish MuseuM of Modern Art, Dublin 2014 Stuart Shave / Modern Art, London Galleria Raffaella Cortese, Milan David Zwirner, New York 2013 Kestner Gesellschaft, Hannover Institute of ConteMporary Art, University of Pennsylvania, Philadelphia Galerie Gisela Capitain, Cologne GeMeenteMuseuM, The Hague 2012 Concentrations 55, Dallas MuseuM of Art, Dallas Schinkel Pavillon, Berlin Gallery of Modern Art, Glasgow Stuart Shave / Modern Art, London 2011 Scotland + Venice 2011 (curated by The FruitMarket Gallery), Palazzo Pisani, 54th Venice Biennale, Venice 2010 Capitain Petzel, Berlin WittMann Collection, Ingolstadt -
Download Press Release
LUCY SKAER CAROL RHODES HANNELINE VISNES HEAVY WEATHER May 18 – July 13, 2019 Opening Saturday May 18th Frans Halsstraat 26 From 6pm until 8pm GRIMM is proud to present Heavy Weather, an exhibition showers’ and ‘Violent Thunder’. These works function as an organised by Lucy Skaer (UK, 1975) with selected works by exploration of the role of feeling, emotion and subjectivity in Carol Rhodes (UK, 1959-2018) and Hanneline Visnes (NO, how we experience history, objects, images, or situations, 1972). The works in the show are united by the theme of despite degrees of abstraction or transmutation. temporality and landscape, meditating on nature, how it is altered and effected by human vision and action. This is In the paintings of Hanneline Visnes, which surround Skaer’s Skaer’s second exhibition with the gallery in Amsterdam La Chasse, stylised motifs of animals and plants are used to and follows her recent collaborative exhibition The Green comment on the representation and control of nature. Visnes Man held at the Talbot Rice Gallery in Edinburgh (UK). merges disparate patterns, motifs, and subjects into her meticulously crafted paintings. She explores and harnesses Lucy Skaer’s main body of work in the exhibition is titled the power of colour, utilising complementary hues that bounce La Chasse, after Le Livre du Chasse, a hunting manual by and fight off the surface, causing her still lifes to dance with Gaston Phébus from the fourteenth century. Skaer was agitated energy. By treating her ‘subject’ and background compelled by illustrations in this medieval manuscript with the same process, the traditional focal point of the work for their representation of time and form. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
THE SCIENCE and ART DEPARTMENT 1853-1900 Thesis
THE SCIENCEAND ART DEPARTMENT 1853-1900 Harry Butterworth Thesis submitted for the degree of Ph. D. Department of Education University of Sheffield Submitted July 1968 VOLUMELWO Part Two - Institutions and Instruments PART TWO INSTITUTIONS AND INSTRUMENTS CHAPTER SIX The development of facilities for the teaching of Science CHAPTER SEVEN The South Kensington Science complex CHAPTER EIGHT The development of facilities for the teaching of Art CHAPTER NINE The South Kensington Art complex CHAPTER TEN The Inspectors CHAPTER ELEVEN The Teachers CHAPTER TWELVE Students, Scholarships and Text-books. CHAPTER SIX THE DEVELOPMENT OF FACILITIES FOR THE TEACHING OF SCIENCE a) Schemes before 1859 i) The basic difficulties ii) A separate organizational scheme iii) A meagre response b) Provincial institutions in the early days i) Trade Schools ii) Mining Schools iii) Navigation Schools iv) Science Schools v) The arrangements for aid c) The Science subjects : general development i) Major divisions ii) A "newt' subject: Physiography iiz. 3 yS iii) Other "new" subjects: Agriculture and Hygiene iv) Relative importance of the "divisional' d) The machinery of payments on results in Science i) The general principles ii) Specific applications iii) The Departmental defence e) The organisation of the system of examining f) Abuses of the examinations system i) The question of "cram"" ii) The question of "security" g) The Science Subjects : "Pure" or "Applied"" ? i) Basic premises ii) Reasons for reluctance to aid "trade teaching" iii) criticisms of the "pure" -
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 -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
The Glasgow Academy WW1 Roll of Honour
The Glasgow Academy WW1 Roll of Honour From the onset of the First World War in 1914 until 1918, the Glasgow Academy suffered a great many losses during the conflict. In fact, it is believed there was a higher number of losses incurred when compared to other independent schools of the time. The following is a list of the former pupils who were casualties and as far as we have been able to, includes information and photographs to tell the stories of these men. In some case, we have little or no information about some of these individuals, so please get in touch if you have anything which could help us fill in the gaps and help us tell their stories. Email: [email protected] 1 Lt William M Alexander Biography Remembered on the Roll of Honour in Dundee , William lived in Broughty Ferry before the War. Highland Light 8th March 1892-12th Son of John and His brother, Ronald served as a Lieutenant Infantry Oct 1918 Mayflower with the Royal Field Artillery during the Alexander, of 2, Age 26 Great War. Smith St., Hillhead, Glasgow, West 2 Private George W Allan* Biography According to his father, Reverend Charles Allan, his son was 'mentioned in officers' letters for bravery. Going to the help of wounded comrades and was said Highland Light 31st August 1894- 17th Son of the Rev. by his own comrades to have earned the Infantry April 1915 Charles Allan, M.A., Victoria Cross "half a dozen times over"'. and Margaret Allan, He was awarded the 1914 Star Age :21 of Duneira, Greenock posthumously 3 Lieutenant Ramsay Allan Biography Ramsay was an only son. -
Janice Mcnab — Curriculum Vitae
Janice McNab — Curriculum vitae Born in Aberfeldy, Scotland. Lives and works in The Hague. EDUCATION 2019 PhD, Amsterdam School for Cultural Analysis, University of Amsterdam 1997 MFA, Glasgow School of Art. Exchange to Hunter College of the Arts, New York 1986 BA, Edinburgh College of Art EMPLOYMENT 2020–2022 Post-doc researcher, ACPA, University of the Arts, The Hague and Leiden University 2015–ongoing Head, MA Artistic Research, The Royal Academy of Art, The Hague Previous teaching experience includes: 2013–2015 Thesis supervisor, Piet Zwart Masters Institute, Rotterdam 2011–2015 Thesis supervisor, Gerrit Rietveld Academy, Amsterdam 2009–2015 Studio tutor, The Royal Academy of Art, The Hague 2006–2008 Thesis supervisor, Piet Zwart Masters Institute, Rotterdam 1997–1999 Studio tutor, Glasgow School of Art External examiner, visiting artist and guest lecturer at various art schools across Britain and Europe, including, in 2020, lectures for DutchCulture.nl Brexit debates and ASCA, University of Amsterdam 30th anniversary conference. OTHER PROFESSIONAL EXPERIENCE 2018–ongoing Chair, Board of 1646 Experimental Art Space, The Hague 2009–2015 Co-editor, If I Can’t Dance Publications, Amsterdam 2008–2009 Mentor, My Miyagi Young Curator programme, Stichting Mama, Rotterdam 2006–2009 Co-curator, Artis Den Bosch, Art Space, ‘s Hertogenbosch 1/4 SELECTED EXHIBITIONS AND PROJECTS 2020 Slits and a Skull, Bradwolff Projects, Amsterdam A New World, Stroom, The Hague 2016 Hollandaise, The Dutch Embassy and New Art Projects, London 2015 Undone, Bradwolff -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
As I Walked Down New Grub Street
As... I Walked ,Down New Grub Street , ; ; -i Memories of a Writing Life WALTER ALLEN The University of Chicago Press ;:::1 The University of~hicago Press to'Peggy Chicago, 60637 William Heinemann Ltd, London W1X 9P A © 1981 by Walter Allen All rights reserved Published 1981 Published with financial assistance from the Arts Council of Great Britain ISBN 0--226-01433--9 Library of Congress Catalog Card No: 81--69852 PR ('.POO I ' ""1 "') ,. I '-,I (" I ;;;_ <"f !{-Vi f Printed in Great Britain the scholarship, rhymed roughly with 'bally fool'. In those days, there 'Sir', which I feared was sardonic. I felt he had sized me up. I was was only one scholarship in English at Oxford. The set books were six getting hungry again but I was too shy or gauche to ask him when Shakespeare plays, Milton's English poetry, six of johnson's Lives and dinner was served or where. Culture and Anar~hy. The plays and the Lives were not entirely new to The evening d'ragged on, the room never became warm, the me, but most of the Milton was. Since no one from the staff could be grarriophones mocked. I was very hungry but dared not go to a spared from his other teaching to coach me, I had to master them restaurant again, for my tea had proved more expensive than I'd myself as best I could. I could only have been miserably unprepared, 'expected. I wrote two falsely cheerfnlletters: I felt as a child must feel though I was confident as I have never been since. -
Scotland Street Public School
M233 Scotland Street Public School Introduction This three-storey school was built by the School Board of Glasgow to serve a densely populated part of Tradeston, just S. of the River Clyde. Some features show the influence of historic Scottish architecture, but the design is remarkable for its novel reinterpretation of tradition, especially in the glazed towers that light the stairs. The boundary wall with its gates and railings and the janitor's house at the N.W. corner of the site were part of the original scheme. Closed as a school due to demolition of the surrounding housing, the building reopened as a museum of education in November 1990. Authorship: Mackintosh is named as architect in official correspondence from the School Board, and in other contemporary sources. Scotland Street School was one of his most important commissions. Cost from job book: £18,597 2s 6½d Cost from other sources: The final measurements of £19,171 8s 1d plus other expenses of £1370 0s 6d gave a total of £20,541 12s 6d. 1 Status: Standing building Current name: Scotland Street School Museum Current use: Museum of Education (2014) Listing category: A Historic Scotland/HB Number: 33534 RCAHMS Site Number: NS56SE 328.01 Grid reference: NS 57752 64142 Chronology 1903 27 April: Purchase of ground for new school in Tradeston. 1 22 June: Mackintosh appointed architect (but official letter of appointment not written until 21 August). 2 2 November: First drawings submitted to The School Board of Glasgow. Modifications requested. 3 1904 January: First set of drawings for school and janitor's house made for submission to Glasgow Dean of Guild Court. -
The Stourbridge School of Art and Its Relations with the Glass Industry of the Stourbridge District, 1850-1905
A PROVINCIAL SCHOOL OF ART AND LOCAL INDUSTRY: THE STOURBRIDGE SCHOOL OF ART AND ITS RELATIONS WITH THE GLASS INDUSTRY OF THE STOURBRIDGE DISTRICT, 1850-1905 by JAMES SCOTT MEASELL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History College of Arts and Law University of Birmingham April 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes.