DOCSLIB.ORG

Helen E. Scott Phd Thesis : Volume 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Helen E. Scott Phd Thesis : Volume 1 CONFRONTING NIGHTMARES: RESPONDING TO ICONOCLASM IN WESTERN MUSEUMS AND ART GALLERIES VOLUME 1: TEXT Helen E. Scott A Thesis Submitted for the Degree of PhD at the University of St Andrews 2009 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/788 This item is protected by original copyright This item is licensed under a Creative Commons Licence Confronting Nightmares: Responding to Iconoclasm in Western Museums and Art Galleries Volume I: Text Helen E. Scott University of St Andrews Ph.D. Thesis 2009 Declarations I, Helen Elizabeth Scott, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2005 and as a candidate for the degree of Ph.D. in March 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2009. Date ………………… Signature of candidate …………………………………. I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date ………………… Signature of supervisor ………………………………… In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to all of printed copy but embargo of all of electronic publication of thesis for a period of five years (maximum five) on the following ground: publication would preclude future publication. Date ………………… Signature of candidate …………………………………. Date ………………… Signature of supervisor ………………………………… Abstract It is not an everyday event for an artwork in a museum or gallery to be harmed deliberately by a member of the public. Such acts of iconoclasm do occur more regularly than many people might assume though, and when attacks take place the repercussions can be serious. This thesis examines the ways in which cultural institutions react to this phenomenon, investigating how responses could be improved to tackle it more effectively. The first chapter establishes the context to the discussion by categorising and rationalising the various motives behind iconoclastic crimes. The next chapter concentrates on historical trends of response, using the case of the suffragette iconoclasts to illuminate reactions from across society, before assessing the effects of their endurance. The third chapter broaches new ground in the field of prevention by exploring the access and education approach: a means of forestalling destructive compulsions among the public by promoting engagement with cultural institutions and works of art. The fourth chapter looks at security enhancement: the more traditional answer to iconoclastic offences. It evaluates the options open to museums from a defensive standpoint, but it also discusses the wider impact of implementation on accessibility. The final chapter presents the findings of a postal survey of 250 British museums and galleries undertaken in 2006. The purpose of the survey was to gauge the current nature and extent of the problem, and to determine how contemporary museum professionals deal with it. Although some cultural institutions respond to iconoclasm with considered, sustainable and effective tactics, others would be wise to revise their conduct. This thesis concludes that while instances of iconoclasm will never be eradicated from galleries completely, the threat could be curbed significantly if the museum sector was to make a concerted effort to study its own responses and introduce necessary changes. Contents: Volume I Acknowledgements i List of Plates ii List of Figures ix Introduction 1 Chapter One: “Wholly uninteresting”: The Motives behind Acts of Iconoclasm 21 Chapter Two: “Their campaign of wanton attacks”: Suffragette Iconoclasm and Trends of Response 81 Chapter Three: Engaging with the Enemy: Responding to Iconoclasm through Access and Education 128 Chapter Four: “Glass-cased fortresses”: Responding to Iconoclasm through Security Enhancement 175 Chapter Five: Responding to Art Vandalism in British Museums and Galleries: A Survey of the Current Situation 226 Conclusion 254 Bibliography 269 i Acknowledgements This research was funded by the Arts and Humanities Research Council. Before all else, I would like to express my gratitude for the financial support and other resources that this organisation provided. Iconoclasm is a sensitive topic in the museum sector. It is a theme that staff often choose to keep quiet about, opting not to discuss it outwith the confines of their own institutions. For this reason I am especially grateful to those museum and gallery professionals who shared their experiences, opinions and expertise with me during the preparation of this thesis. Some requested that they should remain anonymous, and they have been thanked privately. But it seems fitting to acknowledge the others here. My most sincere thanks go to the following individuals: Louise Anderson, Hildegarde Berwick, Alison Bevan, William Brown, Jon Campbell, Simon Cane, Leslie Carlyle, Nicola Christie, Alan Crookham, Lorri Dunwoody, Patrick Elliot, Jan Evans, Oliver Fairclough, Judith Gowland, Mary Griffiths, Richard Hawkes, Meera Hindocha, Sam Howard, Charlotte Hubbard, Mark Janzen, Vincent Kelly, Samantha Lackey, Michael Langston, Kathryn Legg, Nancy Loader, Alfred Longhurst, Josephine Lyons, Paul Nicoll, Roy Perry, Derek Pullen, Richard Rogers, Liz Rose, Lucia Scalisi, Michael Simpson, Penelope M. Smith, Martyn Sodergren, Lesley Stevenson, Janet Tamblin, Carolyn T. Thum, Bruce Tozer, David Trevivian, Mark Trodd, Nicola Waghorn, Leeanne Westwood, Julian Whitehead and Martin Wyld. In a similar vein, I would also like to thank all of the institutions that took part in the survey Responding to Art Vandalism in British Museums and Galleries; the strong response rate was extremely encouraging. A significant part of my research consisted of bibliographic and archival study, and many librarians and archivists were very generous in their assistance. I would like to thank staff at the British Library, the National Art Library, the National Gallery Archive, the National Library of Scotland and the University of St Andrews Library. The School of Art History at the University of St Andrews provided a constant stream of encouragement and support throughout my research. I am extremely grateful to my supervisor Ann Gunn for her advice, enthusiasm, and flexibility. Special thanks must also go to Natalie Adamson, Ian Carradice, Annette Carruthers, Margaret Hall, Jeremy Howard, Christina Lodder, Helen Rawson and Dawn Waddell. Ultimately, I am indebted to the circle of friends and family who have stood by me over the last few years. I would like to thank Nicola Armstrong, Chris Miller and Clancy Smith for their companionship, advice and comforting words. And my final thanks go to Ian, Elizabeth, Rob and David Scott, whose support, patience and unwavering belief in my undertaking have been invaluable. ii List of Plates Plate 1 – Leonardo, The Virgin and Child with St Anne and St John the Baptist, 1499- 1500, Chalk on Paper, 141.5 x 104.6cm, National Gallery, London Plate 2 – Pierre-Gabriel Berthault after Jean Louis le Jeune Prieur, Les Tableaux historiques de la Révolution Français: Statue de Louis XIV Abatue, Place des Victoires, Les 11, 12, 13 Aoust 1792, 1796, Engraving on Paper, 20 x 25.7cm, Musée Carnavalet, Paris Plate 3 – Rembrandt, Nightwatch, 1642, Oil on Canvas, 363 x 437cm, Rijksmuseum, Amsterdam Plate 4 – Rembrandt, Nightwatch, 1642, Oil on Canvas, 363 x 437cm, Rijksmuseum, Amsterdam, (Detail of damage caused by Wilhelm Arie de Rijk, 14th September 1975, Black and White Photograph) Plate 5 – Martin Creed, Work 227: The Lights Going On and Off, 2000, Installation, Variable Dimensions, Tate, London Plate 6 – Rembrandt, Self Portrait, 1654, Oil on Canvas, 72 x 58.5cm, Gemäldegalerie, Kassel, (Damage caused by Hans-Joachim Böhlmann, October 1977, Black and White Photograph) Plate 7 – Peter Doig, Blotter, 1993, Oil on Canvas, 249 x 199cm, Walker Art Gallery, Liverpool Plate 8 – Helen Frankenthaler, The Bay, 1963, Acrylic on Canvas, 205 x 208cm, Detroit Institute of Arts, Detroit Plate 9 – Leonardo, The Virgin and Child with St Anne and St John the Baptist, 1499- 1500, Chalk on Paper, 141.5 x 104.6cm, National
Load more

Recommended publications
  • Friends Around Europe
    COMENIUS PROJECT 2011-2013 FRIENDS AROUND EUROPE MELLISTE ALGKOOL-LASTEAED, TARTU, ESTONIA ÉCOLES MATERNELLE ET ÉLÉMENTAIRE DE PONT, ÉCHENOZ LA MÉLINE, FRANCE SZIVÁRVÁNY ÓVODA, SZÉKESFEHÉRVÁR, HUNGARY ISTITUTO COMPRENSIVO DI ATRI, ATRI, ITALY SZKOŁA PODSTAWOWA nr 199 im. JULIANA TUWIMA, ŁÓDŹ, POLAND ESCOLA PAЇSOS CATALANS LLEIDA, CATALONIA, SPAIN LLANDOGO PRIMARY SCHOOL, WALES, UNITED KINGDOM MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 International Music Day 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Castanyada 1st October - International Music Day The teachers perform songs to children. They sing the songs and play upon flute. 31st October - La castanyada In Catalonia every autumn, we celebrate a traditional holiday named “LA CASTANYADA”( = The chesnut Day). A long time ago, on 31st October night, families gathered together by the fireplace and told dead people stories, because the All Saints‟ Eve. In this celebration we cook a kind of sweet little cakes (PANELLETS) and toast chesnuts and sweet potatoes. In our school we participate in a Panellets workshop, autumn crafts, and afternoon festival with dances and songs. There are others schools that also cook chesnuts. This is our PANELLETS RECIPE. Ingredients: 1 kg almond flour 1 kg (or 900gr) sugar. 200 gr boiled potatoe (with the skin).
    [Show full text]
  • Amounts Paid
    LBBD Payments Greater than £250.00 for Publishing Payment DateVendor Name Vendor Type Cost Centre Code Cost Centre Description Department Division Subjective Description Amount Non Recoverable VAT 01-Jun-20 A C Preou Ltd Commercial Supplier F14700 SUE BRAMLEY CHILDREN'S CENTRE AND LIBRARY COMMUNITY SOLUTIONS UNIVERSAL LIFECYCLE PROFESSIONAL SERVICES - GENERAL £328.32 0.00 01-Jun-20 Adecco UK Ltd Commercial Supplier F20190 CORPORATE AGENCY STAFF AGENCY STAFF AGENCY STAFF £235,590.75 0.00 01-Jun-20 Aestima Ltd Legal Services F50520 LANDLORD SERVICES AREA C MY PLACE MY PLACE LEGAL FEES £509.60 0.00 01-Jun-20 Aid Training & Operations Ltd Commercial Supplier F24000 HEALTH, SAFETY AND OCCUPATIONAL HEALTH LAW, GOVERNANCE & HR LAW & GOVERNANCE STAFF OTHER EXPENSES £425.00 0.00 01-Jun-20 Askews and Holts Library Services Ltd Commercial Supplier F14540 UNIVERSAL LIBRARIES COMMUNITY SOLUTIONS UNIVERSAL LIFECYCLE BOOKS, PUBLICATIONS AND RESOURCES £310.74 0.00 01-Jun-20 Binder Loams Ltd Commercial Supplier F27560 HIGHWAYS & HRA GROUND MAINTENANCE MY PLACE PUBLIC REALM GROUNDS MAINTENANCE £436.72 0.00 01-Jun-20 Binder Loams Ltd Commercial Supplier F27560 HIGHWAYS & HRA GROUND MAINTENANCE MY PLACE PUBLIC REALM GROUNDS MAINTENANCE £840.00 0.00 01-Jun-20 Binder Loams Ltd Commercial Supplier F27560 HIGHWAYS & HRA GROUND MAINTENANCE MY PLACE PUBLIC REALM GROUNDS MAINTENANCE £436.72 0.00 01-Jun-20 Binder Loams Ltd Commercial Supplier F27560 HIGHWAYS & HRA GROUND MAINTENANCE MY PLACE PUBLIC REALM GROUNDS MAINTENANCE £436.72 0.00 01-Jun-20 Carter Estate Co
    [Show full text]
  • Barking and Dagenham Is Supporting Our Children and Young People Like
    this Barking and Dagenham Working with a range of is supporting our children organisations, we’re running and young people like exciting FREE holiday clubs never before! for children and young people right across the borough who are eligible. To find out more about each programme, and to book your place, visit www.lbbd.gov.uk/free-summer-activities. Each activity includes a healthy lunch. For free activities in the borough for all families visit www.lbbd.gov.uk/newme-healthy-lifestyle This provision is funded through the Department for Education’s Holiday Activities and Food Programme. #HAF2021. Take part in a summer to remember for Barking and Dagenham! Location Venue Dates Age Group 8 to 11 years IG11 7LX Everyone Active at Abbey Leisure Centre Monday 26 July to Friday 20 August 12 to 16 years 4 to 7 years RM10 7FH Everyone Active at Becontree Heath Leisure Centre Monday 26 July to Friday 20 August 8 to 11 years 12 to 16 years 8 to 11 years RM8 2JR Everyone Active at Jim Peters Stadium Monday 26 July to Friday 20 August 12 to 16 years IG11 8PY Al Madina Summer Fun Programme at Al Madina Mosque Monday 2 August to Thursday 26 August 5 to 12 years RM8 3AR Ballerz at Valence Primary School Monday 26 July to Friday 20 August 5 to 11 years RM8 2UT Subwize at The Vibe Tuesday 3 August to Saturday 28 August 7 to 16 years Under 16 RM10 9SA Big Deal Urban Arts Camp from Studio 3 Arts at Park Centre Monday 26 July to Friday 6 August years Big Deal Urban Arts Camp from Studio 3 Arts at Greatfields Under 16 IG11 0HZ Monday 9 August to Friday 20
    [Show full text]
  • Business Archives Council Charity No
    NUMBER 90 Business Archives Sources and History Number 90 November 2005 BUSINESS ARCHIVES NOVEMBER 2005 BUSINESS ARCHIVES COUNCIL CHARITY NO. 313336 ISSN 0007-6538 BUSINESS ARCHIVES COUNCIL Corporate Patrons The work of the Business Archives Council is supported by subscriptions and donations from its corporate, institutional and individual members. The Council is especially grateful to its Corporate Patrons, who have generously agreed to support the Council at significantly more than the basic level of subscription: HSBC Holdings plc, ING Bank NV (London), Lloyds TSB Group, News International plc, Rio Tinto plc, The Rothschild Archive, and R Twining & Co. Major Benefactors The Business Archives Council is also grateful to the following major benefactors for their support for current and previous work: Academic sponsorship Economic History Society (1995 - 2000), University of the West of England (1995 - 2000). Advisory Service Royal Commission on Historical Manuscripts (1974 - 1997), J Sainsbury plc (1996 - 2000). Annual Conference accommodation British Bankers Association (2001), Cable & Wireless plc (1998), Channel 4 Television (2000), Lloyds TSB (2004), The Newsroom – Guardian and Observer Archive and Visitor Centre (2003), Rio Tinto plc (2003). Meetings and training accommodation The Boots Company plc (1998 - 2000), NatWest Group (1998 - 1999), News International plc (1998 - 2000), Rio Tinto plc (2003 - 2005), Royal Commission on Historical Manuscripts (1974 - 2003), R Twining & Co (1974 - 2000). Surveys of business archives British Railways Board, survey of records for the Railway Heritage Committee (1997 - 1999); Economic and Social Research Council, company archives survey (1980 - 1985); The Wellcome Trust, surveys of records of the pharmaceutical industry (1995 - 1997) and veterinary medicine (1998 - 2001).
    [Show full text]
  • Greater London Authority Funding Agreements, December 2012 to December 2015 Date Grant Awarded Start Date End Date GLA Departmen
    Greater London Authority funding agreements, December 2012 to December 2015 Date grant Start Date End Date GLA Department Beneficiary Beneficiary Beneficiary Summary of purpose of the grant Amount Approved by awarded Reg. No. Reg. No. Decision* Charity Company (published here) 05/12/12 01/10/2012 01/08/2015 Communities and Intelligence Remploy Ltd 394532 GLA ESF Youth Programme - Pathways £650,257 DD1395 to a Positive Future (LDD1) 05/12/12 01/10/2012 01/08/2015 Communities and Intelligence Remploy Ltd 394532 GLA ESF Youth Programme - Pathways to £655,917 DD1395 a Positive Future (LDD3) 05/12/12 01/10/2012 31/03/2015 Communities and Intelligence Nacro 226171 203583 GLA ESF Youth Programme - YO1 £1,151,554 MD948 05/12/12 01/10/2012 31/03/2015 Communities and Intelligence Nacro 226171 203583 GLA ESF Youth Programme - YO3 £1,100,000 MD948 05/12/12 01/10/2012 01/08/2015 Communities and Intelligence Prevista Ltd 3148833 GLA ESF Youth Programme - Realising £1,100,000 DD1395 Ambitions through Education and Development (ESF2) 14/12/12 01/10/2012 01/08/2015 Communities and Intelligence 3SC LLP 347365 GLA ESF Youth Programme - Integra8 £1,100,000 DD1395 (EFS1) 29/01/13 01/10/2012 01/07/2015 Communities and Intelligence Leonard Chesire Disability 552847 218186 GLA ESF Youth Programme - Work Smart £788,962 DD1395 London (LDD2) 11/10/13 01/10/2013 01/03/2015 Communities and Intelligence Royal Society for Public 1125949 Funding for the 'Well London' £129,430 MD1206 Health programme - 2013 to 2015, Training Communities Project 11/10/13 01/10/2013 01/03/2015 Development, Enterprise & Green Corridor 1092093 Big Green Fund - Seeds of Change £300,000 DD1092 Environment 21/10/13 01/10/2013 01/03/2014 Communities and Intelligence Foundation for 328392 2415458 In relation to the Big Dance 2014 £30,000 MD1204 Community Dance 22/10/13 01/08/2013 01/03/2015 Communities and Intelligence Groundwork London 1121105 4212532 Funding for the 'Well London' £16,288 MD1206 programme - 2013 to 2015.
    [Show full text]
  • Musica Sanat Corpus Per Animam': Towar Tu Erstanding of the Use of Music
    `Musica sanat corpus per animam': Towar tU erstanding of the Use of Music in Responseto Plague, 1350-1600 Christopher Brian Macklin Doctor of Philosophy University of York Department of Music Submitted March 2008 BEST COPY AVAILABLE Variable print quality 2 Abstract In recent decadesthe study of the relationship between the human species and other forms of life has ceased to be an exclusive concern of biologists and doctors and, as a result, has provided an increasingly valuable perspective on many aspectsof cultural and social history. Until now, however, these efforts have not extended to the field of music, and so the present study representsan initial attempt to understand the use of music in Werrn Europe's responseto epidemic plague from the beginning of the Black Death to the end of the sixteenth century. This involved an initial investigation of the description of sound in the earliest plague chronicles, and an identification of features of plague epidemics which had the potential to affect music-making (such as its geographical scope, recurrence of epidemics, and physical symptoms). The musical record from 1350-1600 was then examined for pieces which were conceivably written or performed during plague epidemics. While over sixty such pieces were found, only a small minority bore indications of specific liturgical use in time of plague. Rather, the majority of pieces (largely settings of the hymn Stella coeli extirpavit and of Italian laude whose diffusion was facilitated by the Franciscan order) hinted at a use of music in the everyday life of the laity which only occasionally resulted in the production of notated musical scores.
    [Show full text]
  • A Tate Gallery: De Millbank a Bankside
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação 2015 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação Júrí: Presidente: Doutora Maria Paula Nina Morão, Faculdade de Letras da Universidade de Lisboa Vogais: - Doutora Maria Cláudia Silva Afonso e Álvares, Escola de Comunicação, Artes e Tecnologias da Informação da Universidade Lusófona de Humanidades e Tecnologias - Doutora Ana Cláudia dos Santos Gonçalves, Escola Superior de Hotelaria e Turismo do Estoril - Doutor Eduardo Manuel Dias Brito Henriques, Instituto de Geografia e Ordenamento do Território da Universidade de Lisboa - Doutor Álvaro Luís Antunes Pina, Faculdade de Letras da Universidade de Lisboa - Doutor Manuel Amador Frias Martins, Faculdade de Letras da Universidade de Lisboa 2015 Resumo Esta tese explora os contextos de evolução da Tate Gallery em Londres desde a sua origem no século XIX até ao presente. Através de uma abordagem multidisciplinar filiada nos Estudos Culturais este estudo tem como objetivo dar um contributo para a análise das transformações da cultura e da sociedade assim como fornecer um enquadramento para estudar conceitos como ideologia, representação, identidade e poder. Criada no contexto de consolidação do Estado-nação e sob o conceito vitoriano de museu como motor de progresso social, a Tate Gallery, abriu em Millbank, Londres em 1897 com o nome National Gallery of British Art para alojar as quase 70 obras de arte britânica doadas por Henry Tate ao Estado.
    [Show full text]
  • The Roman Martyrology
    The Roman Martyrology By the Catholic Church Originally published 10/2018; Current version 5/2021 Mary’s Little Remnant 302 East Joffre St. Truth or Consequences, NM 87901-2878 Website: www.JohnTheBaptist.us (Send for a free catalog) 2 TABLE OF CONTENTS The Sixteenth Day of the Second Month ............. 23 LITURGICAL DIRECTIONS AND NOTES ......................... 7 The Seventeenth Day of the Second Month ........ 23 FIRST MONTH ............................................................ 9 The Eighteenth Day of the Second Month .......... 24 The Nineteenth Day of the Second Month ......... 24 The First Day of the First Month ........................... 9 The Twentieth Day of the Second Month ........... 24 The Second Day of the First Month ...................... 9 The Twenty-First Day of the Second Month ....... 24 The Third Day of the First Month ......................... 9 The Twenty-Second Day of the Second Month ... 25 The Fourth Day of the First Month..................... 10 The Twenty-Third Day of the Second Month ...... 25 The Fifth Day of the First Month ........................ 10 The Twenty-Fourth Day of the Second Month ... 25 The Sixth Day of the First Month ....................... 10 The Twenty-Fifth Day of the Second Month ....... 26 The Seventh Day of the First Month .................. 10 The Twenty-Sixth Day of the Second Month ...... 26 The Eighth Day of the First Month ..................... 10 The Twenty-Seventh Day of the Second Month . 26 The Ninth Day of the First Month ...................... 11 The Twenty-Eighth Day of the Second Month .... 27 The Tenth Day of the First Month ...................... 11 The Eleventh Day of the First Month ................. 11 THIRD MONTH ......................................................... 29 The Twelfth Day of the First Month ..................
    [Show full text]
  • Transition in Post-Soviet Art
    Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 ABSTRACT Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 Copyright by Octavian Eșanu 2009 ABSTRACT For more than three decades the Moscow-based conceptual artist group “Collective Actions” has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual
    [Show full text]
  • The UK Collection
    The UK Collection Executive Summary National Museums loan thousands of objects to museums across the UK every year, from Shetland to Truro, Belfast to Ipswich. In 2010/11 DCMS-sponsored national museums lent objects to 1827 venues in the UK.1 Examples of loan projects include: o very high profile star objects such as the National Gallery’s UK-wide tour of Titian’s Diana and Actaeon; o long-term loans to provide content for a museum or historic house. Apart from one locomotive, the entire collection of locomotives and stock on display at STEAM in Swindon is a long-term loan from the National Railway Museum; o the use of collections for study and research, such as NHM’s loan of 36,746 specimens to 182 venues for this purpose in 2010/11; and o loans to form part or all of a special exhibition, such as the loan of the Llyn Cerrig Bach hoard to Oriel Ynys Môn on Anglesey by National Museum Wales, and the tour of the Lewis Chessman organised jointly by the British Museum and National Museums Scotland to Edinburgh, Aberdeen, Stornoway and Lerwick. National Museums Liverpool, the Royal Armouries (Leeds) and the National Museum of the Royal Navy (Portsmouth) all have their main site situated outside of London. There are 20 branches of DCMS and MOD-sponsored national museums located outside of London2. National Museum Wales operates museums in six towns and cities, National Museums Northern Ireland in four, and National Museums Scotland in three towns and cities as well as at East Fortune airbase.
    [Show full text]
  • Yorkshire Sculpture Park 2014 Exhibition Programme 3 October 2013
    Yorkshire Sculpture Park 2014 EXHIBITION PROGRAMME 3 October 2013 Yorkshire Sculpture Park (YSP) today announced the 2014 exhibition Barbara Hepworth, The Family of Man, programme, which continues YSP’s international reputation for showcasing (1970). Courtesy The Hepworth Estate and Tate. Photo Jonty Wilde the best modern and contemporary sculpture through year-round temporary and permanent indoor and outdoor displays by artists at all stages of their careers. 2014 programme highlights include the most extensive exhibition to date and first major exhibition in Europe by highly acclaimed American artist Ursula von Rydingsvard; an exhibition of sculpture and animation by Tom Price; and a new installation conceived especially for YSP’s Longside Gallery by 2002 Turner Prize-nominee Fiona Banner. Further highlights include Uncommon Ground: Land Art in Britain 1966 – 1979, a touring exhibition from the Arts Council Collection at Longside Gallery; new landscape interventions by David Nash; an exploration of Minimalist sculptural practice by Jordan McKenzie; a performance work by video artist and rapper Helen Benigson; a new video commission by Nick Crowe and Ian Rawlinson; and a site-specific project by Hester Reeve. YSP’s programme of international visiting artists welcomes Serge Alain Nitegeka, David Murphy and Molly Smyth this year. “Our 2014 programme provides an opportunity to experience an exciting contrast of exhibitions and projects by a range of world-class artists. Innovation remains at the heart of our aspirations and, alongside major survey exhibitions, we encourage artists to explore our 500 acres and exquisite galleries to create new and extraordinary work which attracts a large and diverse audience.” Peter Murray CBE, Founder and Executive Director, Yorkshire Sculpture Park.
    [Show full text]
  • Florence City Guide ®
    FLORENCE CITY GUIDE ® FEBRUARY 2020 WWW.WHEREITALIA.COM/FLORENCE Between History and Legend A JOURNEY INTO THE CURIOSITIES OF FLORENCE SIGHTSEEING | MUSEUMS | SHOPPING | DINING | ENTERTAINMENT | MAPS WELCOME TO FLORENCE In the heart of Florence, just a few steps away from the historic treasures of the city, you will find Rinascente: the ideal place to find the best in fashion, accessories and beauty and to taste the best gourmet foods. An exclusive shopping experience that brings together women’s & men’s fashion, a craft gallery with artisan brands, a café, a restaurant, a wine bar and a terrace with a breathtaking view over the Duomo. FLORENCE | PIAZZA DELLA REPUBBLICA OPEN 7 DAYS A WEEK E NJOY YOUR SHOPPING SHOW THIS COUPON TO GET 10%* OFF YOUR PURCHASES -10%* -12%** *Exclusively for foreign individual customers upon presentation of a valid foreign passport. Valid except for regional restriction regulations and only on brands which support the initiative. The discount cannot be combined with other promotions and does not apply on cafeterias, restaurants, and on food market purchases. Valid until December 31, 2020. **Tax free: If you are resident in an Extra-EU country and you have spent at least 154.94 euros in the same day, you are entitled to a refund of 12% on the total amount of your purchase. FLAGSHIP STORES MILAN | PIAZZA DUOMO • ROME | VIA DEL TRITONE STORES ROME | PIAZZA FIUME TURIN FLORENCE CAGLIARI CATANIA MONZA PALERMO DISCOVER Florence February 2020 VIA SESTESE INSIDER TIPS CASTELLO SESTO 14 the guide apertura SIGHTSEEING FIORENTINO SVINCOLO SESTO FIORENTINO V I A 20 SHOPPING S AUTOSTRADA FIRENZE-MARE E S VI VIA XXV APRILE T A E VIA DEL CHIUSO DEI PAZZI G S E In the heart of .
    [Show full text]