Robert Maclaurin

Total Page:16

File Type:pdf, Size:1020Kb

Robert Maclaurin ARTIST BIOGRAPHY – ROBERT MACLAURIN Robert Maclaurin is a prize winning landscape painter with an international reputation. A Menzies Fellowship in 1995-6 at the late Clifton Pugh's Dunmoochin Foundation Studio brought Maclaurin to Australia. He has made his permanent home and studio just outside Castlemaine since 2001. Well known for his impressive landscapes, and widely collected in Europe and America, Maclaurin exhibits regularly with gallery representation in London and Edinburgh. “You feel Maclaurin’s engagement with the earth, his feeling for its fragile, living surface. These paintings are as all true landscape should be; images of the real world, but metaphoric, lit by memory and enlarged by imagination, by sympathy and so ultimately by awe at the grandeur of what the Artist has experienced.” Prof. Duncan Macmillan, Talbot Rice Gallery, Edinburgh. Qualifications 1979-83 Edinburgh College of Art, Scotland, BA (Hons) in Drawing & Painting 1983-84 Edinburgh College of Art, Postgraduate Diploma (with distinction) Drawing and Painting, ECA Postgraduate School Selected Awards, Commissions, Prizes 2005 First prize James Farrell portrait award, Castlemaine 2002 Scottish National Portrait Gallery – commissioned to paint Hamish MacInnes, Scottish mountaineer 1998 First prize winner Noble Grossart painting prize, Scotland 1995 Sir Robert Menzies fellowship – painting Australia 1990 Royal Overseas League Salisbury Festival painting prize 1989 Scholarship – International weeks of painting, Slovenia 1986 Hunting Group painting prize – Young prize winner 1984 Turkish Government scholarship to Istanbul painting 1984 Royal Scottish Academy travelling scholarship to Tuscany and Umbria, Italy Selected solo Exhibitions 2011 Penny School Gallery, Maldon, Victoria – paintings and etchings (Castlemaine Festival) 2009 Open Eye Gallery, Edinburgh – paintings and etchings 2008 Osborne Samuel, London – paintings 2008 Castlemaine Art Gallery and Museum – paintings and etchings 2007 Axia Modern Art, Melbourne - paintings 2007 Penny School Gallery, Maldon – paintings (Castlemaine Festival) 2006 Osborne Samuel, London – paintings 2005 Open Eye Gallery, Edinburgh - paintings 2003 Berkeley Square Gallery, London - paintings 2001 Berkeley Square Gallery, London - paintings 1999 Talbot Rice Gallery, Edinburgh International Festival - paintings 1999 Berkeley Square Gallery, London - paintings 1998 Niagara Galleries, Melbourne, Australia - paintings 1997 Berkeley Square Gallery, London - paintings 1997 Compass Gallery, Glasgow - works on paper 1995 Glasgow Print Studio Gallery - paintings and prints 1994 Kirkcaldy Art Gallery & Museum - paintings Durham City Art Gallery - paintings 1993 Vardy Gallery, University of Sunderland – paintings Edinburgh Printmakers Workshop & Gallery - etchings 1993 Benjamin Rhodes Gallery, London - paintings 1991 Benjamin Rhodes Gallery, London - paintings 1991 Fruitmarket Gallery, Edinburgh - works on paper 1990 Berkeley Square Gallery, London – paintings 1989 369 Gallery, Edinburgh – paintings 1987 Mercury Gallery, Edinburgh - paintings Forthcoming solo Exhibitions 2012 Osborne Samuel, London – paintings 2012 Axia Modern, Melbourne - paintings Selected Group Exhibitions 2011 Rick Amor Print Prize, Montsalvat Gallery, Melbourne 2011 ‘Biting Issues’, Cascade Print Workshop and Gallery, Maldon (Castlemaine Festival) 2011 ‘Scottish Painters in Australia’ – 10 painters, Castlemaine Art Gallery & Museum 2010 Mt Alexander Shire Artists represented in the permanent collection, Castlemaine Art Gallery and Museum, Australia 2010 ‘Approach to the Landscape 2010’, 5 painters – Axia Modern Art, Melbourne, Australia 2009 ‘Scottish Painters’ – Open Eye Gallery, Edinburgh, Scotland 2008 ‘The Face of Scotland’ – Scottish National Portrait Gallery Touring Exhibition 2008 ‘Approach to the Landscape 2008’ – Axia Modern Art, Melbourne, Australia 2008 ‘Scottish Artists’ – Open Eye Gallery, Edinburgh, Scotland 2006-7 ‘Scottish Artists’ – Open Eye Gallery, Edinburgh 2005 James Farrell Self-portrait prize exhibition, Castlemaine Art Gallery & Museum, Australia 2003-6 ‘Scottish Artists’ - Open Eye Gallery, Edinburgh 2005 Birds Australia, Newhaven Exhibition, Uber Gallery, Melbourne 2003 En Plein Air Panels- Australian Galleries, Melbourne, Australia 2003 30 years Anniversary Exhibition- Selected Artists at The Bohun Gallery 2002-3 500 Fridays, 10 years of Contemporary Australian en plein air painting - A Celebration - Geelong Gallery (touring) 2002 On Top of the World-Scottish National Portrait Gallery, Edinburgh 2001 Scottish Landscapes - Scottish Gallery, Edinburgh Selected Group Exhibitions (cont.) 2001 New Work From Scotland- Bohun Gallery, Henley-on - Thames, England 2000 On Land - Scottish Travelling Gallery (touring Scotland) Marie R - curated by Ian Macfarlane, Bourne Fine Art, Edinburgh. Expressions - Scottish Art 1976 - 1989 (touring Aberdeen Art Gallery, McManus Galleries, Dundee and Dundee Contemporary Arts) 1999/00 Connections- Royal Scottish Academy, Edinburgh International Festival 1998 Hunting Group Art Prize Exhibition - Royal College of Art, London This Island Earth - An Tuireann Art Centre, Portree, Skye 1997 10 Years - International Weeks Of Painting, Celje Museum, Slovenia 1996/8 Noble Grossart Art Prize Exhibition - Royal Scottish Academy, Edinburgh & Mackintosh Gallery, Glasgow School of Art 1996 Sightlines - Honiton Festival Exhibition, Devon, England 1995 New Territories - Art from Australia, Jason & Rhodes, London 1994 Three Artists & Travel - Kirkcaldy Art Gallery & Museum (touring) 1993 Counterpointing, New Art from Scotland - The Collective Gallery, Edinburgh International Festival Exhibition 1992 Edinburgh Printmakers Workshop & Gallery 1991-93 Art under Thirty - FAIR International Prize Exhibition (touring Milan, Rome, Paris, London, New York and Los Angeles ) 1991 Scottish Colourists, Old and New - Kirkcaldy Museum & Art Gallery 1990 Painting The Forth Bridge, Centenary - 369 Gallery, Edinburgh (touring) 1989-90 International Weeks of Painting ( touring Ljublijana, Zagreb, Celje Maribor, Gratz ) Scottish Art since 1900 - Scottish National Gallery of Modern Art, Edinburgh & Barbican Arts Centre, London. 1988 New Scottish Painting - 3 persons at Art In General, New York, USA Collections The Artist has major works of art in the following collections: Coopers Lybrand Deloitte; Contemporary Art Society (London, UK); Edinburgh City Arts Centre; Edinburgh College of Art Collection; Ernst & Young; Flemings / Wyfold Scottish Art Foundation; former Hewlett Packard Collection; Kovinotekna Collection (Slovenia); Anglo – American (London); The Greater Manchester City Art Collection; McKenna & Co.; Paintings in Hostpitals, Scotland; Pearl Assurance plc; Phillips Petroleum (London); Royal Bank of Scotland; The Queen’s Royal Collection, UK; Hospitalfield House Art Collection; ( Former Scottish Arts Council Collection); Kirkcaldy Art Galleries & Museum; Scottish National Gallery of Modern Art; Standard Life Assurance Company; Tetrapak; Unilever plc; University of Edinburgh Art Collection; Paris Banque; Hamson Consultants ( Australia ); Pioneer International ( Australia ); Scottish Government Collection, St Andrews House, Edinburgh; Scottish National Portrait Gallery, Edinburgh; Castlemaine Art Gallery & Museum (Australia) The Artist has work in important private collections Worldwide Teaching Although a full time career artist, Robert Maclaurin has taught as a visiting lecturer in Art Schools and Institutions across the UK, Europe and Australia, including Edinburgh College of Art, Dundee Art College, Glasgow School of Art, Scotland. The Slade School, London, Sunderland Art College, England. Mimar Sinan Universities, Istanbul, Turkey. RMIT Melbourne. Victorian College of the Arts, Melbourne. Tasmanian School of Art, Hobart, Australia. Scottish National Gallery of Modern Art, Edinburgh, Scotland. Selected Bibliography (articles and catalogues) The Age, A2 The Critics ‘A great dividing Strangeness’ – Andrew Stephens, 19 April 2008 Osborne Samuel – New Paintings, catalogue, 2006 Birds Australia, Newhaven Art Exhibition, catalogue, October 2005 Back to The Heart, The Weekend Australian, 30-31 July 2005 New Work at Gallery, Castlemaine Mail, 12 November 2004 Macmillan, Duncan, From the ridiculous…..Scotsman, 13 January 2004 500 Fridays, Sunday Program, Nine Network, Australia, 1 May 2003 Berkeley Square Gallery – New Paintings, 2003 catalogue From Chewton to London, Castlemaine Mail, Australia, 19 September 2003 Nelson, Robert, Landscape painting no picnic outing, The Age, Melbourne, 8 February 2003 Millar, Ronald, 500 Fridays – Contemporary Plein Air Painting, Geelong Gallery, Victoria – exhibition catalogue, 2002 Moore, Richard, At the height of his powers, The Herald, Glasgow, 27 October 2002 Scottish Landscapes, Scottish Gallery, Edinburgh – exhibition catalogue, 2001 Cameron, Neil, Spirit of the Place, The Scotsman, 6 March 2001 Mahoney, Elisabeth, Pretty Vacant, The Scotsman Festival Magazine,10 August 1999 Ingelby, Richard, Private View, The Independent, 14 August 1999 Henry, Clare, These Lands are our Lands, The Herald, Glasgow, 9 August 1999 Packer, William, Nothing Beats the True Experience, Financial Times, 21 August 1999 Macmillan, Duncan, Terra Nullius, Talbot Rice Gallery, Edinburgh and Berkeley Square Gallery, London - exhibition catalogue essay, 1999 Gale, Iain, Echoes of the Outback, Spectrum, Scotland on Sunday, 1 November 1998 Timms, Peter, Taking Another Look at the Landscape, The Age, Melbourne, 4 March 1998 Macmillan,
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
    [Show full text]
  • Curators' Colloquium on Knitted Textiles
    Fleece to Fashion Economies and Cultures of Knitting in Modern Scotland Curators’ Colloquium on Knitted Textiles Friday 29 January 2021 1.30 - 4.00 pm on Zoom PROGRAMME 1.30 Welcome and Introduction (Lynn Abrams, Carol Christiansen) 1.40-2.30 Acquisition, Identity and Interpretation Chair: Roslyn Chapman The Challenges of a ‘Living’ Knitwear Collection (Carol Christiansen, Shetland Museum and Archives) Scottish and European Knitted Textiles at National Museums Scotland: collecting, interpretation and display' (Helen Wyld, National Museums of Scotland) 2.30-3.00 Care and Conservation Chair: Sally Tuckett The Care and conservation of Knit Collections (Frances Lennard, University of Glasgow) 3.00-3.05 Leg stretch 3.05-3.50 Interpretation and Display – Conventional and Digital Chair: Lin Gardner Colour Revolution: Bernat Klein and the post-war market for handknitting (Lisa Mason, National Museum of Scotland) Glorious Ganseys: a glance at the Scottish Fisheries Museum’s collection of fishermen’s jumpers with particular focus “Knitting the Herring” and the creation of a National Database (Jen Gordon and Federica Papiccio, Scottish Fisheries Museum) 3.50-4.00 Summing Up and Next Steps Chair: Marina Moskowitz Speaker Biographies Carol Christiansen is Curator and Community Museums Officer at Shetland Museum and Archives. As curator, her main responsibility is the Museum’s nationally recognised textiles collection, which has a large knitted textile component. She holds a PhD from the University of Manchester in Archaeology with a specialisation in Textiles and has worked and published in the specialism with colleagues in the UK and Nordic countries. She is the author of Taatit Rugs: the pile bedcovers of Shetland (2015) and numerous articles on Shetland’s textile heritage.
    [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]
  • Graeme Todd the View from Now Here
    GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect.
    [Show full text]
  • 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
    [Show full text]
  • Edinburgh Galleries Artist Training Programme
    Copyright © Art, Design & Museology Department, 2005 Published by: Art, Design & Museology Department School of Arts & Humanities Institute of Education University of London 20 Bedford Way London WC1H 0AL UK All rights reserved. Except for the quotation of short passages for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 0-9546113-1-4 This project was generously supported by: The National Lottery, The City of Edinburgh Council and National Galleries of Scotland 1 The Edinburgh Galleries Artist Training Programme in collaboration with the Art, Design & Museology department, School of Arts & Humanities, Institute of Education, University of London A pilot programme supported by The National Lottery, The City of Edinburgh Council and National Galleries of Scotland Course Directors: Lesley Burgess, Institute of Education, University of London (IoE) Maureen Finn, National Galleries of Scotland Course Co-ordinator: Kirsty Lorenz Course Venues: Gallery of Modern Art, Edinburgh National Portrait Gallery, Edinburgh Participating Organisations: The Collective Gallery Edinburgh Printmakers Workshop Edinburgh Sculpture Workshop The Fruitmarket Gallery Stills Gallery Talbot Rice Gallery Course Leader: Lesley Burgess, IoE Session contributors: Nicholas Addison, IoE Lesley Burgess, IoE Anne Campbell, SAC Barbara Clayton Sucheta Dutt, SAC Fiona Marr Sue Pirnie, SAC Roy Prentice, IoE Helen Simons Rebecca Sinker, DARE and inIVA Sally Tallant, Serpentine Gallery, London Leanne Turvey, Chisenhale Gallery, London Research Report by: Lesley Burgess and Emily Pringle Photographs by: Lesley Burgess 2 EDINBURGH GALLERIES ARTIST TRAINING PROGRAMME RESEARCH EVALUATION REPORT OCTOBER 2003 1.
    [Show full text]
  • The Unlearning Organisation: Cultural
    Edinburgh Research Explorer The Unlearning Organisation Citation for published version: Mulholland, N 2018, 'The Unlearning Organisation: Cultural Devolution and Scotland’s Visual Arts 1967- 2017', Paper presented at The Scottish Society for Art History’s Study Day 2018 , Glasgow, United Kingdom, 10/02/18 - 10/02/18. Link: Link to publication record in Edinburgh Research Explorer Document Version: Version created as part of publication process; publisher's layout; not normally made publicly available Publisher Rights Statement: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License By exercising the Licensed Rights (Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License), You accept and agree to be bound by the terms and conditions of this Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License ("Public License"). To the extent this Public License may be interpreted as a contract, You are granted the Licensed Rights in consideration of Your acceptance of these terms and conditions, and the Licensor grants You such rights in consideration of benefits the Licensor receives from making the Licensed Material available under these terms and conditions. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [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]
  • FULL ATTENDEES Individuals
    Contemporary Collections and Collecting in Scotland Series Record of Attendence Individuals First name Surname Organisation Position Jennifer Melville Aberdeen Art Gallery Keeper of Fine Art Liesbeth Bik Artist Christine Borland Artist Rose Frain Artist Jos van der Pol Artist Gerrie van Noord Artist Pension Trust, London Co-Director Andrew Brown Arts Council England Senior Strategy Officer - Visual Arts Louise Shelley Centre for Contemporary Art, Glasgow Head of Programmes Kate Gray Collective Gallery, Edinburgh Director Jenny Crowe Consultant Moira Jeffrey Consultant Kirstie Skinner Consultant Elaine Martay Cultural Strategy and Diplomacy Team, Scottish GoveInternationalrnment Policy Mark O'Neill Culture Sport Glasgow Head of Arts and Museums Ben Harman Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Victoria Hollows Culture Sport Glasgow / Gallery of Modern Art, GlasgowMuseum Manager Sean McGlashan Culture Sport Glasgow / Gallery of Modern Art, GlasgowCurator of Contemporary Art Margaux Achard Culture Sport Glasgow/ Kelvingrove Jenny Brownrigg Duncan of Jordanstone College of Art and Design Exhibitions Curator Edwin Janssen Duncan of Jordanstone College of Art and Design Artist/Academic Leader Laura Simpson Duncan of Jordanstone College of Art and Design Assistant Curator, Exhibitions Graham Domke Dundee Contemporary Arts Curator Clive Gillman Dundee Contemporary Arts Director Judith Winter Dundee Contemporary Arts Deputy Director and Head of Programmes Joanne Brown Edinburgh Art Festival Director Ian
    [Show full text]
  • Helen Flockhart CV
    HELEN FLOCKHART Arusha Gallery | [email protected] | 0131 557 1412 BIOGRAPHY Following her attainment of a first-class undergraduate degree in painting at the Glasgow School of Art in 1984, Helen Flockhart took up postgraduate study with the British Council at the State Higher School of Fine Art in Poznan, Poland. Boasting an impressive resume of solo exhibitions, spanning both Scotland and England, as well as group shows in New York, Ontario, Rotterdam, London and Truro, Flockhart was recently awarded the Concept Fine Art Award (2016), the Royal Scottish Academy’s Maude Gemmel Hutchinson Prize (2012), and the Lyon and Turnbull Award presented by the Royal Glasgow Institute (2012). A fellow of the Glasgow Art Club (as of 1997), Flockhart’s works belong to such prestigious collections as the Fleming Collection, the Scottish Arts Council, Strathclyde University and the Lillie. Bill Hare, teaching fellow of Modern and Contemporary Scottish Art at the University of Edinburgh, praises her work. ‘Nobody paints like Helen Flockhart’, he writes: ‘here the mundane and the mythical are at one with each other’. Hers are works which break with established convention -- a blend of portrait and landscape, Flockhart’s paintings are verdant, fantastical paeans to that particularist genre of British myth making centered on pastures, mountains and divinity. Indeed, there is something Blakean about her work -- a warmth of vision borne of what appears simultaneous ancient and modern. EDUCATION 1985-1986 Studied painting at the State Higher School of
    [Show full text]
  • Easter Bush Campus Edinburgh Bioquarter the University in the City
    The University in the city Easter Bush Campus Edinburgh BioQuarter 14 Arcadia Nursery 12 Greenwood Building, including the 4 Anne Rowling Regenerative Neurology Clinic Aquaculture Facility 15 Bumstead Building 3 Chancellor’s Building Hospital for Small Animals 13 Campus Service Centre 2 1 Edinburgh Imaging Facility QMRI R(D)SVS William Dick Building 10 Charnock Bradley Building, including 1 5 Edinburgh Imaging Facility RIE (entrance) Riddell-Swan Veterinary Cancer Centre the Roslin Innovation Centre 3 2 Queen’s Medical Research Institute Roslin Institute Building 7 Equine Diagnostic, Surgical and 11 6 Scottish Centre for Regenerative Medicine Critical Care Unit 5 Scintigraphy and Exotic Animal Unit 6 Equine Hospital 8 Sir Alexander Robertson Building Public bus 4 Farm Animal Hospital DP Disabled permit parking P Public parking 9 Farm Animal Practice and Middle Wing P Permit parking Public bus The University Central Area The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336. in Scotland, with registration registered The University of Edinburgh is a charitable body, ). 44 Adam House 48 ECCI 25 Hope Park Square 3 N-E Studio Building 74 Richard Verney Health Centre 38 Alison House 5 Edinburgh Dental 16 Hugh Robson Building 65 New College Institute 1–7 Roxburgh Street 31 Appleton Tower 4 Hunter Building 41 Old College and 52 Evolution House Talbot Rice Gallery Simon Laurie House 67 Argyle House 1 46 9 Infirmary Street 61 5 Forrest Hill Old Infirmary Building St Cecilia’s Hall 72 Bayes Centre
    [Show full text]
  • Post Festival Summary
    Post festival summary 21 - 29 November 2016 www.eamif.com Programme 2016 Symposium: Emma Finn Defaced, hidden, stolen, crushed, Gender and the moving image plus EAMIF Showcase chopped, pierced: Event Screening + Q&A SUPERLUX Reading Group with artist Jamie Crewe Workshop Edward Thomasson Edward Thomasson SUPERLUX Social Talk Screening + Q&A Event Ettrick Take Time: EAMIF Showcase African Lines: Conversations in Screening + Q&A Screening + Q&A Film and Poetry Event The festival has grew strongly from last year. This year we held events at Filmhouse, Talbot Rice Gallery, The Fruitmarket Gallery, Collective Gallery and Edinburgh College of Art. Highlights in- cluded a symposium on gender and the moving image, films plus a sousaphone performance at Filmhouse, an evening of African video art and an evening of film and live music. Ambient Audiences Event Feedback survey Our survey showed that audiences really enjoyed our events and learned much from them. 96% of people surveyed either ‘really enjoyed’ or ‘enjoyed’ the event they attended 57% said they ‘really enjoyed’ the event they attended 38.6% saidReally enjoyed theyEnjoyed ‘enjoyedNeutral Not Enjoyed’ the event they attended Symposium 34 15 0 1 Ambient Audiences 28 20 3 2 Emma Finn 18 17 0 0 African Lines 3 4 1 Take Time 5 1 Edward Thomasson Talk 7 6 Edward Thomasson Screening 6 5 0 0 TOTAL 101 68 4 3 I really enjoyed the event 101 57.38636364 I enjoyed the event 68 38.63636364 96.02272727 Neutral 4 2.272727273 I did not enjoy the event 3 1.704545455 176 Creative discovery When presented
    [Show full text]