Contemporary Art Society Annual Report 1988
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Cultural Digital Designers in Residence in Schools 2020
Cultural Digital Designers in Residence in Schools 2020 A project by the Comino / Ideas Foundation partnership in Greater Manchester Schools with Manchester Metropolitan University Project Name: Bygone Bolton CDDIR Name: Tom Cockeram CDDIR Course: MA Product Design Allumnus School DigitalName: Designers Ladybridge in Residence High Schoolin Schools 2016 Teachers Names: Joy Helliwell, Jess Greenhalgh Cultural Organisation: The Science and Industry Museum, Manchester Link Staff Name: Adam Flint Curriculum Areas: Citizenship & Art Pupils Year and Number: 19 yr 8 and 9s Project Overview Students created their own monuments to people and places in Bolton, that were significant in the town’s development during the Industrial Revolution. These were informed by a trip to SIM’s Textiles Gallery and a walking tour of Bolton town centre. The finished sculptures will be exhibited as a 3D map alongside the walking tour so that other students can share the experience. Project Rationale To provide a way for the students to connect with their surroundings. It was identified by their citizenship teacher, Ms Helliwell, that students were aware of global concepts such as slavery and the rights of the child, yet not how they have directly impacted their local landscape. To create a project alongside the students so that they felt they were co-collaborators. The end outcomes were chosen and designed by each group as a way to share the information they had gathered informally. Project Rationale To prepare students with a grounding of what courses and careers are available for them if they were interested in pursuing an art based pathway, and in addition highlight the crossover opportunities between disciplines. -
Family Learning in Museums and Galleries
Developing and supporting family learning in museums and galleries A practical resource for museum and gallery staff, family learning tutors and managers and for early years practitioners Manchester Art Gallery – Claire Wood Manchester Contents Introduction 3 Planning a family learning session 14 What do we mean by ‘family Working in partnership 19 learning’? 5 Identifying the factors that stop Benefi ts of family learning 6 people from participating 20 Quality of family learning provision 6 Overview of the family learning Funding of family learning 6 practitioner qualifi cation framework 23 The policy context 8 Conclusion 25 Developing your family learning offer 10 Useful contacts and websites 26 Examples of family learning 13 Written by Clare Meade Tullie House Museum & Art Gallery – Claire Wood House Museum & Tullie 2 Family Learning Introduction Art Gallery – Claire Wood The Whitworth It is increasingly recognised that museums This resource is based on the pilot of a core unit of and galleries can play an important part in family learning practitioner qualifi cations organised by NIACE and the Renaissance North West Family Learning reaching out to families. The Guardian Family Network. The qualifi cations developed by NIACE on Friendly Museum Award has been a catalyst behalf of the Children’s Workforce Development Council for services to think about families and how (CWDC) and Lifelong Learning UK (LLUK) are aimed they can be made to feel welcome. Working at all those working with families in a learning context. The qualifi cations can be contextualized to meet the in partnership with other organisations, requirements of specifi c environments, for example museums and galleries can help to meet museums and galleries or extended services. -
Local Development Framework
Local Development Framework Bolton’s Core Strategy Development Plan Document Adopted 2 March 2011 Shaping the future of Bolton Shaping the future of Bolton 3 List of policies Policy Name Page H1 Healthy 23 A1 Achieving 25 P1 Employment 29 P2 Retail and leisure 31 P3 Waste 33 P4 Minerals 35 P5 Accessibility 37 S1 Safe 38 CG1 Cleaner and greener 41 CG2 Sustainable design and construction 44 CG3 The built environment 47 CG4 Compatible uses 48 SC1 Housing 51 SC2 Cultural and community provision 53 TC1 Civic and retail core 56 TC2 St Helena 57 TC3 St Peter’s 57 TC4 Trinity Gateway 58 TC5 Cultural Quarter 60 TC6 Knowledge Campus 61 TC7 Merchant ’s Quarter 62 TC8 Church Wharf 64 TC9 Little Bolton 64 TC10 Urban Village 65 TC11 Design in the town centre 66 RA1 Inner Bolton 69 RA2 Farnworth 71 RA3 Breightmet 73 M1 Horwich Loco Works 76 M2 Horwich Loco Works 76 M3 Broad location for employment development 78 M4 Middlebrook 79 M5 Parklands and the Lostock Industrial Area 80 M6 Wingates Industrial Estate 80 M7 The M61 corridor built environment 80 OA1 Horwich and Blackrod 83 OA2 Retail and leisure uses at Middlebrook 84 OA3 Westhoughton 85 OA4 West Bolton 86 OA5 North Bolton 88 OA6 Little Lever and Kearsley 90 LO1 Links to other areas 93 IPC1 Infrastructure and planning contributions 96 See also: Appendix 1 - Policy Summary 102 Bolton’s Core Strategy 4 Local Development Framework Contents Chapter 1 Introduction 6 Chapter 2 Spatial portrait and issues 9 Chapter 3 Spatial vision and objectives 17 Chapter 4 Strategic Policies 23 Healthy Bolton 23 Achieving -
Press Release
PRESS RELEASE GOOD NATURE – a celebration of our planet, its beauty and its fragility and the essential part we all play in preserving it. 30 emerging and eminent artists were invited to make a new work in response to the theme. The work explores the themes of nature, our planet and the environment today. 16 September to 28 October 2017 Tuesday- Saturday 10am – 5pm CANDIDA STEVENS GALLERY Chichester West Sussex PO19 1BA Top left and clockwise: Alice Kettle, David Nash RA OBE, Michael Benson, Eileen Cooper RA OBE, Nicola Green GOOD NATURE celebrates the natural world through the observations of some of the leading artists working in the UK today who awaken our senses to the abundant beauty of our planet. They take inspiration from the warmth of the sun, the green lungs of the forests and the dark depths of the oceans, alongside all life that teems in and under them. We are reminded of the changing and fragile state of Earth and are invited to reflect on how it is necessary for all these elements to interconnect in order to exist. Highly acclaimed, environmental sculptor David Nash RA OBE shows a work created from a Holly tree, charred in his distinctive style, with an associated print. Eileen Cooper RA OBE, and this year’s curator of the RA Summer Show, includes a painting inspired by the domestic use of nature. Stephen Farthing RA makes a new print about the escapism PRESS RELEASE nature provides. Returning from highly successful exhibitions at Venice Biennale, Stephen Chambers RA takes a humorous look at manmade versus nature whilst Nicola Green makes a series of silkscreen prints in response to deforestation. -
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Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex. -
E Ileen C Oop Er: P Ersonal S P
Eileen Cooper: Personal Space 3–5 Swallow Street London W1B 4DE 020 7434 4319 huxleyparlour.com Cover image: Sisters, 2019 Eileen Cooper: Personal Space Introduction I am very pleased to introduce our first catalogue of paintings by Eileen Cooper RA, which contains a completely new body of work produced especially for our first exhibition together. It is a remarkable group of pictures that nods to her earliest years as a painter, while also continuing to develop the themes of identity and womanhood that she has explored throughout her career. The exhibition’s particular theme of reflective, personal space is one that seems entirely appropriate to Cooper, whose studio itself is a domestic one, set in a light filled room above the convivial family kitchen in her Brockley home. Here in this high ceilinged, paint splattered sanctuary Cooper quietly makes her pictures, bathed in the rays that flood through the tall sash windows. For many years Cooper worked alone there with her imagination, but more recently she has re-welcomed models – which has given birth to a more immediate intimacy. As one of the country’s most influential female Royal Academicians, Cooper has been a force in the British art world for many years, most recently as a much-loved Keeper of the Royal Academy Schools. In seeking models for the previous project to ours, Cooper found herself welcoming a long queue of former students and their artistic brethren, which is testimony to the esteem and friendship in which she is held. Like them, I have adored getting to know and being around Cooper, whose warmth, and energetic approach to her life and work makes for an intoxicating environment. -
Annual Report 2019/2020 Contents II President’S Foreword
Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic. -
Memorial Inscriptions the Parish Church St Mary, the Virgin Deane
Memorial Inscriptions Memorial AtInscriptions At The Parish Church The ParishOf Church Of StSt Mary,Mary, TheThe VirginVirgin Deane Deane BoltonBolton (Second Edition 2018) (Second Edition 2018) PREFACE This edition of the Monumental Inscriptions of Deane Church has been transcribed from an earlier version produced by the Bolton & District Family History Society in April 1983. It was typewritten and therefore of limited circulation. It was thought that Deane Church did not hold a copy in its archives and therefore the only way to retrieve the inscriptions was to re-run the project. Fortunately a copy was discovered in Bolton Museum archives and photographed. Optical Character Recognition (OCR) software was used but due to the limited facilities available, much of this material was not suitable for the process. As this is such a valuable source of information, the decision was taken to manually enter the text. This process was a labour of love which covered many months. To ensure this does not need to be repeated, digital copies are to be deposited with Bolton Museum, Manchester Library , Bolton and District Family History Society and available from the website www.deanechurch.co.uk Eric Morgan 15th July 2018 FOREWORD The ancient church of St Mary the Virgin, Deane, Bolton, Lancashire has perhaps the most interesting history of any in these parts. It is for this reason that the Bolton and History Society decided to list the monumental inscriptions of the older parts of the churchyard and also in the interior of the church. It dates from at least Norman times and probably earlier. -
Bolton Museum
GB 0416 Pattern books Bolton Museum This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NRA 29093 The National Archives List of Textile samples of woven, printed, dyed etc. fabric in the collections of Bolton Museum (Jan. 1977) R.J.B. Description Date Accession no. / 1 Peel Pattern Book - A pattern book of the calico-print circa trade. 36 leaves of notes and pattern samples and 1807-1821 D.1.1971. loosely inserted leaves. Belonged to Robert Peel, fath er of Sir Robert Peel, from print works of Church and Bury. 1 Pattern Book of printed and woven textile designs from 1841-46 D.3.1969. James Hardcastle & Co. ^Bradshaw Works. 1 Pattern Book of printed textile designs from James 1836-44 D. 2.1969 Hardcastle & Co., Bradshaw Works. 9 coloured Patterns on paper of various sizes, illust- A. 3.1967 rating different patterns U3ed in dyeing & printing cotton. 1 Book recording prices and samples referring to dyeing 1824-1827 A. 1.1967 and printing of cotton. Samples of printed and dyed cloth stuck in the book. 1 Book recording instructions and reports on various 1809 A.2.1967 dyeing processes for cotton, using different substances and how to obtain specific colours. Samples of printed and dyed textiles stuck in the book. Book inscribed *John Mellor Jnr. 1809". 1 Sample Book containing 19 small pieces of muslins made 1837 48-29 1/14 by John Bradshaw, Manufacturer, about 1837- John Bradshaw had previously been employed as manager of hand-loom weavers and in 1840 was appointed Relieving Officer for the Western District of Great Bolton. -
To Download Contemporary Art Society's Acquisitions & Art
Contemporary Art Society Acquisitions & Art Consultancy APRIL 2017–MARCH 2018 Contents Foreword 5 Museums Receiving Artworks 9 Contemporary Art Society 59 Central Street, London EC1V 3AF Map of Museum Members 10 Tel: +44 (0)20 7017 8400 Email: [email protected] Website: contemporaryartsociety.org Special Projects Follow us on social media — Great Works 14 /thecontemporaryartsociety contemporaryartsociety — Collections Fund at Frieze 18 @ContempArtSoc — Valeria Napoleone XX Contemporary 20 Every effort has been made to contact all copyright Art Society holders. If proper acknowledgement has not been made, please contact the Contemporary Art Society. — Art Night 24 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronical, Acquisitions Scheme mechanical or otherwise, without first seeking the written permission of the copyright holders and — Fine Art 27 of the Contemporary Art Society. Images cannot be reproduced without prior permission from the — Omega Fund 75 Contemporary Art Society. Date of publication: June 2018 Edited by Marcus Crofton, Charlotte dos Santos, Gifts and Bequests 91 Caroline Douglas, Nina Johnson, Fabienne Nicholas and Christine Takengny Designed by Hyperkit Cover image: Gillian Wearing, Millicent Fawcett, 2018, Art Consultancy 99 bronze, pink granite and laser-etched black granite, 400 x 120 cm. Photo: Kevin Percival. Supporters and Patrons 108 Museum Members 112 Art Consultancy Clients 114 Trustees and Staff 115 Index of Artists 117 Image Credits 119 Foreword The Trustees of the Contemporary Art Society are a hard-working group of individuals whose commitment to our mission makes an enormous difference to the way we are able to operate. -
Park View Gateshead Welcome to Park View a New Home
Park View Gateshead Welcome to Park View A new home. The start of a whole new chapter for you and It’s hard to imagine a more perfect location in the north-east. your family. And for us, the part of our job where bricks and Park View lies along the eastern edge of Saltwell Park and just mortar becomes a place filled with activity and dreams and west of the sought-after Low Fell neighbourhood. A selection fun and love. We put a huge amount of care into the houses of magnificent one and two bed apartments and three, four and we build, but the story’s not finished until we match them up five bedroom homes, all designed to take maximum advantage with the right people. So, once you’ve chosen a Miller home, of their unique location, the development sensitively blends we’ll do everything we can to make the rest of the process reclaimed stone features, conservation-quality paving and easy, even enjoyable. From the moment you make your beautiful landscaping – even the bollards are by the sculptor decision until you’ve settled happily in, we’ll be there to help. Anthony Gormley. Park View is destined to become a benchmark for modern, sustainable urban living. We care about you Be Happy Every year, we We want you to love help thousands living in your new home. of homebuyers That’s why everything is to make the move. built around you. Your We understand what complete satisfaction is 01 Welcome home matters to you. And the only way we know 02 Living in Gateshead that’s what matters we’re getting things to us. -
Richard Slee Cv
H A L E s RICHARD SLEE CV Born 1946, Carlisle, Cumbria, UK Lives and works in London, UK Education 1986-88 Royal College of Art, London. MA Design R.C.A. 1965-70 Central School of Art and Design, London, BA Ceramics 1964-65 Carlisle College of Art and Design Present Teaching Professor, University of the Arts, London, UK Selected Solo Exhibitions 2020 Mantelpiece Observations, Bolton Museum, UK 2019 Perfect Pie, Hales New York, NY, USA 2018 Richard Slee: Framed, Crafts Study Centre, Farnham, UK 2014-2016 Work and Play, Tullie House Museum and Art Gallery, Carisle, Cumbria. Touring: Nottingham Castle Museum and Art Gallery, Nottingham, UK (2015); Oriel Myrddin Gallery, Carmarthen, Wales (2015), Tramway, Glasgow, Scotland, UK (2016) 2013 Fit for Purpose, Hales Gallery, London, UK ‘Richard Slee: Revolution in the Rain’, Milton Keynes Arts Centre, UK 2012 Camp Futility, Studio Voltaire, London, UK 2010 Richard Slee: From Utility to Futility, Victoria and Albert Museum, London, UK Richard Slee, Hales Gallery, London, UK 2008 Richard Slee, Recent Works, Barrett Marsden Gallery, London, UK London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W ~ @halesgallery H A L E s 2007 Richard Slee, Garth Clark Gallery, New York, NY, USA 2006 Richard Slee at Barrett Marsden, Barrett Marsden Gallery, London, UK 2004 Panoramas, The Pier Arts Center, Stomness, Orkney, Scotland, UK A Secret History of Clay, Tate Liverpool, UK Richard Slee, Barrett Marsden Gallery, London, UK 2003 Panoramas, Tate St.