AFTERNOON TALK
Saturday 30 July, 2-3pm. £5 (£4). Hawthornden Lecture Theatre, Scottish National Gallery.
Tony Cragg in Conversation
To open the first museum show in Britain for more than a decade - Tony Cragg: Sculptures and Drawings - we welcome the great sculptor himself, in conversation with Patrick Elliott, Senior Curator at the Gallery of Modern Art and curator of the exhibition. Not to be missed!
Booking:
Tickets available in advance and in person from the Information Desk in the Gardens Entrance of the Scottish National Gallery. Alternatively, you can call 0131 624 6560 with your debit/credit card details.
Tony Cragg: Sculptures and Drawings opens 30 July - 6 November 2011 at the Scottish National Gallery of Modern Art One. For more details, go to: www.nationalgalleries.org
Showing posts with label Edinburgh. Show all posts
Showing posts with label Edinburgh. Show all posts
26 Jul 2011
7 Apr 2011
Afternoon discussion
Discussions following the afternoon presentations at the AHM Symposium 2, National Galleries, Edinburgh
Liz Ann MacGregor Video Presentation
Liz Ann MacGregor making a video presentation at the AHM Symposium
Douglas Gordon at the AHM Symposium
Douglas Gordon speaking at the AHM State of Play Symposium at the National Galleries, Edinburgh.
19 Mar 2011
RSA New Contemporaries
RSA New Contemporaries 19 March - 13 April 2011
The Royal Scottish Academy of Art & Architecture
An exhibition of the work of 53 artists and 6 architects selected from the graduating
students of the Scottish Schools/Colleges of Art and Architecture in the summer of 2010.
Introduction
When the RSA launched New Contemporaries three years ago the primary aim was to initiate an exhibition which would set new standards in promoting and supporting emerging artists and architects. Our intentions were to select the most ambitious work from the most talented undegraduate students and by doing so, create a platform for excellence that would help to develop professionalism in graduating students. To achieve this would require the Academy to establish a strong curatorial direction while simultaneously entering into a new partnership with the Art Schools. The task of the selectors, comprising academicians and art school staff was to identify quality, talent and excellence. We believed that bringing together the work of young artists from the five Scottish degree awarding Schools to form a site for dialogue and debate would both compliment the important role the Schools play and enhance the status of contemporary art in Scotland. Above all, we hoped that by participating in New Contemporaries, those young artists and architects might go on to enjoy a life-long relationship with the Academy.
The difficulties involved in moving outside the realm of the Art School into the professional art world should not be underestimated. A big public exhibition of a young artist’s work in the RSA galleries assumes a very special significance. For the first time the individual achievements of each artist are made accesible to a wide audience. Inevitably new readings and evaluations will be attached to the works on show and the future prospects of the artist will be dramatically transformed.
The art of our time takes on many roles and many appearances and the different art forms - painting, sculpture, printmaking, installation, film, photography, performance, etc that now constitute the realty of degree shows across the western world (and actually have done for the past half century) have their own idioms and properties. As a result, New Contemporaries reflects the wide range of creative activity currently in existence. All meaningful art has its roots in the local and this is embedded in many of the works included in the exhibition. Attempts to standardise the Fine Art degree have been resisted and the distinct identities of the Scottish Art Schools remain in place despite the demise of the artist/teacher over the past two decades. It might be appropriate at this present time to acknowledge it is precisely because of the commitment and dedication of their artist/teachers, the work of the young artists in New Contemporaries is able to emerge directly from the exploration of a practical discipline that when allied to a questing and courageous intelligence is further able to give renewed vigour to that potent dream of which all art speaks.
Descriptions of the state of the art world vary enormously as to positive and negative possibilities: there are ongoing arguments as to what aspects of art- making are progressive and forward looking, or regressive and backward looking. Even the very nature of how the art world operates and what it signifies are open to question. Anyone who claims to understand
what it all means only dares to make such a claim over a relatively short period of time. This is of course all part of the new/old modernist, or call it if you wish, post modernist (another strategy of displacement) struggle for definition in the amazingly mobile (except for those who think it is immobile) contemporary world.
Young artists are under seige today. Continuously assailed by information coming from all directions, all of the time, can be a confusing experience. Making choices which will determine a course of action, establishing a position, or working out a form of resistance, all become more and more problematic. In order to interpret the world, one must first understand it. Accordingly, I hope the exhibition will become a forum where issues are voiced and new energies emerge; it is important to demonstrate that in Scotland today, the work of young artists does matter.
To work effectively within the context of contemporary art requiries an understanding of the agencies which promote or inhibit social and cultural change across time. Artists proceed gradually by absorbing the achievements of their predecessors in order to come to an understanding of their own historical position. To sustain a life-long career as an artist and
to contribute to the advancement of creativity, knowledge and understanding
by confronting the dilemmas of a changing world remains the primary goal - the only one worth having.
Alexander Moffat
Convenor
The Royal Scottish Academy of Art & Architecture
An exhibition of the work of 53 artists and 6 architects selected from the graduating
students of the Scottish Schools/Colleges of Art and Architecture in the summer of 2010.
Introduction
When the RSA launched New Contemporaries three years ago the primary aim was to initiate an exhibition which would set new standards in promoting and supporting emerging artists and architects. Our intentions were to select the most ambitious work from the most talented undegraduate students and by doing so, create a platform for excellence that would help to develop professionalism in graduating students. To achieve this would require the Academy to establish a strong curatorial direction while simultaneously entering into a new partnership with the Art Schools. The task of the selectors, comprising academicians and art school staff was to identify quality, talent and excellence. We believed that bringing together the work of young artists from the five Scottish degree awarding Schools to form a site for dialogue and debate would both compliment the important role the Schools play and enhance the status of contemporary art in Scotland. Above all, we hoped that by participating in New Contemporaries, those young artists and architects might go on to enjoy a life-long relationship with the Academy.
The difficulties involved in moving outside the realm of the Art School into the professional art world should not be underestimated. A big public exhibition of a young artist’s work in the RSA galleries assumes a very special significance. For the first time the individual achievements of each artist are made accesible to a wide audience. Inevitably new readings and evaluations will be attached to the works on show and the future prospects of the artist will be dramatically transformed.
The art of our time takes on many roles and many appearances and the different art forms - painting, sculpture, printmaking, installation, film, photography, performance, etc that now constitute the realty of degree shows across the western world (and actually have done for the past half century) have their own idioms and properties. As a result, New Contemporaries reflects the wide range of creative activity currently in existence. All meaningful art has its roots in the local and this is embedded in many of the works included in the exhibition. Attempts to standardise the Fine Art degree have been resisted and the distinct identities of the Scottish Art Schools remain in place despite the demise of the artist/teacher over the past two decades. It might be appropriate at this present time to acknowledge it is precisely because of the commitment and dedication of their artist/teachers, the work of the young artists in New Contemporaries is able to emerge directly from the exploration of a practical discipline that when allied to a questing and courageous intelligence is further able to give renewed vigour to that potent dream of which all art speaks.
Descriptions of the state of the art world vary enormously as to positive and negative possibilities: there are ongoing arguments as to what aspects of art- making are progressive and forward looking, or regressive and backward looking. Even the very nature of how the art world operates and what it signifies are open to question. Anyone who claims to understand
what it all means only dares to make such a claim over a relatively short period of time. This is of course all part of the new/old modernist, or call it if you wish, post modernist (another strategy of displacement) struggle for definition in the amazingly mobile (except for those who think it is immobile) contemporary world.
Young artists are under seige today. Continuously assailed by information coming from all directions, all of the time, can be a confusing experience. Making choices which will determine a course of action, establishing a position, or working out a form of resistance, all become more and more problematic. In order to interpret the world, one must first understand it. Accordingly, I hope the exhibition will become a forum where issues are voiced and new energies emerge; it is important to demonstrate that in Scotland today, the work of young artists does matter.
To work effectively within the context of contemporary art requiries an understanding of the agencies which promote or inhibit social and cultural change across time. Artists proceed gradually by absorbing the achievements of their predecessors in order to come to an understanding of their own historical position. To sustain a life-long career as an artist and
to contribute to the advancement of creativity, knowledge and understanding
by confronting the dilemmas of a changing world remains the primary goal - the only one worth having.
Alexander Moffat
Convenor
27 Jul 2010
AHM attend: Three Directors at the Gallery of Modern Art in Conversation
Three Directors at the Gallery of Modern Art in Conversation
Today AHM went to the National Galleries in Edinburgh where Tim Marlow chaired a lively discussion with Douglas Hall (1961-1986), Richard Calvocoressi (1986-2007) and Simon Groom (2007-to present).
23 Jun 2010
Over the weekend David attended the 'Littoral' events in Leith and Edinburgh to mark the 60th anniversary of Kurt Schwitters' arrival in Leith on a fishing boat from Norway in June 1940.
‘Littoral’ ( literally - at the edge) of Ian Hunter and Celia Larner
has been responsible for numerous seminal conferences and
seminars over the years. Based in Lancashire it has in recent years
been concerned with the influence of Schwitters on post 2WW
British art. Central to this has been securing the original site of
the Merzbarn in the Lake District and turning into a centre for the
study of Schwitters life and work.
Professor Hamish Ritchie described the impact of Holocaust
refugees on the cultural life of Britain. Around 60,000 came to
Britain in the years up to 1940 and their contribution has been
massive. (see attached paper)
Sir Alan Peacock concentrated on one, the composer Hans Gal,
who taught at Edinburgh University and became a well-known
Edinburgh figure.
At the Plenary session David asked if there was a definitive published
text/book on the influence of Schwitters on British art. It seems
that there is none. Does anyone know if there is one. If not then
obviously an urgent task waiting for someone to do.
"Historical note. Sandy Moffat while at the 57 Gallery in
Edinburgh curated a show of Schwitters’ work in 1976. The
catalogue is a collector’s item."
David Harding June 2010
‘Littoral’ ( literally - at the edge) of Ian Hunter and Celia Larner
has been responsible for numerous seminal conferences and
seminars over the years. Based in Lancashire it has in recent years
been concerned with the influence of Schwitters on post 2WW
British art. Central to this has been securing the original site of
the Merzbarn in the Lake District and turning into a centre for the
study of Schwitters life and work.
Professor Hamish Ritchie described the impact of Holocaust
refugees on the cultural life of Britain. Around 60,000 came to
Britain in the years up to 1940 and their contribution has been
massive. (see attached paper)
Sir Alan Peacock concentrated on one, the composer Hans Gal,
who taught at Edinburgh University and became a well-known
Edinburgh figure.
At the Plenary session David asked if there was a definitive published
text/book on the influence of Schwitters on British art. It seems
that there is none. Does anyone know if there is one. If not then
obviously an urgent task waiting for someone to do.
"Historical note. Sandy Moffat while at the 57 Gallery in
Edinburgh curated a show of Schwitters’ work in 1976. The
catalogue is a collector’s item."
David Harding June 2010
7 Jun 2010
Sandy and David spend the day in Edinburgh
Sandy and David met in Edinburgh yesterday and, in addition to working on AHM documents, they went to the RSA show and Dutch Landscapes at the Queen's gallery.
4 May 2010
AHM will be visiting Jupiter Artland
Later in the month AHM are planning a trip to Jupiter Artland.
Jupiter Artland is a contemporary sculpture garden in the private grounds of Bonnington House on the Western fringes of Edinburgh.
Works by many of today's leading artists, sculptors and land artists have been commissioned and then constructed in situ.
The relationship of each artwork with its specific topographical location is a crucial feature of the artland, that is, art within the landscape.
For more information please visit www.jupiterartland.org
Jupiter Artland is a contemporary sculpture garden in the private grounds of Bonnington House on the Western fringes of Edinburgh.
Works by many of today's leading artists, sculptors and land artists have been commissioned and then constructed in situ.
The relationship of each artwork with its specific topographical location is a crucial feature of the artland, that is, art within the landscape.
For more information please visit www.jupiterartland.org
26 Apr 2010
AHM recommend..
AHM say the following event is unmissable...
Date: 27th July 2010
Venue: National Galleries of Scotland
Lecture Theatre
Time: 12:45pm
Details: The 1st, 2nd and 3rd Keepers of the National Galleries of Scotland will be in conversation about the collection and its importance.
Date: 27th July 2010
Venue: National Galleries of Scotland
Lecture Theatre
Time: 12:45pm
Details: The 1st, 2nd and 3rd Keepers of the National Galleries of Scotland will be in conversation about the collection and its importance.
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