Visually, Potter recreates four centuries of
British cultural history in painterly images and austerely constructed settings, from Orlando's lavish manor to the frozen Thames of 17th century London to 18th century Constantinople, in Leningrad and in Uzbekistan.
Not exact matches
Self - schooled in the
history of European nationalism — especially as championed by Giuseppe Mazzini in Italy — Savarkar sought to give expression to a broad
cultural ideology that could challenge the
British Raj, counter Western influence more generally, and provide intellectual defenses against Muslim beliefs and the allegedly culture - destroying work of Christian missionaries.
I still believe, as I put it in chapter two, that «software», not «hardware» — the long, slow waves of
cultural change, not the more obvious technological and economic changes that figure so prominently in public debate and academic social science — hold the key to the
British predicament; that our ills form an interdependent system or, in medical language, a «syndrome»; and that they reflect the bewilderment and disorientation of a people who have forgotten the
history that shaped them, and who therefore no longer know who they are.
The centre of the
British Empire, home to millions, a
cultural melting pot of activity and
history, city life in London is fast - paced, exciting and ever - changing.
This slice of
British football sports
history won't have any
cultural resonance for us Yanks, who still insist on calling the sport soccer, but the portrait of ambition and hubris run amuck resonates in any arena, even if the script boils down his motivation for jumping ship and taking over the league bruisers and longtime champions Leeds United (the «Damned» of the title) to a grudge against their longtime coach and the sport's most successful manager Don Revie (Colm Meaney).
McCalman has written numerous articles in
British, American and European
History and Literature journals on Modern British, European and Imperial cultural h
History and Literature journals on Modern
British, European and Imperial
cultural historyhistory.
It wasn't until I got to my hotel in the country's capital, Valletta, that I got a sense of what the island is really about: 7,000 years of
history and
cultural heritage left by numerous conquerors, including the Phoenicians, Moors, Normans, Knights of St. John, Napoleonic Empire and, most recently, the
British.
The Fiji Museum in Suva, Viti Levu, takes you on a journey through the nation's
history and
cultural development, featuring centuries - old clothing, traditional canoes and harrowing stories of
British explorers coming face to face with cannibalism.
Rich
cultural history including settlement by a variety of First Nations, Danish,
British and American settlers has shaped this region as has the violent wind and rainstorms that tested their mettle over the centuries.
The ultimate private family tour of England and Scotland, this itinerary features inspiring
cultural experiences that showcase the best of
British history and legends; classic
British experiences suitable for travelers of all ages; and time to relax at a family - friendly resort hotel in the beautiful Scottish countryside.
Beaufort's
history includes European explorers, Native American
cultural influences,
British settlements, and Civil War battles.
Fellow fansite, the Dreamcast Junkyard, is to be preserved by the
British Library for
cultural history.
Heron, Patrick, «Part Two of the Report by the
British Painter Patrick Heron on How American
Cultural Imperialism Took Over Britain and the
History Book Accounts», The Guardian, 11 October 1974
Continental Shift - Artists from the African continent in Europe, Bonnefantenmuseum, Maastricht, The Netherlands Intelligence: New
British Art 2000, Tate Britain, London South Meets West, Accra, Ghana and Kunsthalle, Bern, Switzerland 1999 From where - To here, Art from London, Konsthallen Göteborg, Sweden Kunstwelten im Dialog, Museum Ludwig, Cologne Missing Link, Museum of Arts, Bern, Switzerland Heaven, Kunsthalle Düsseldorf, Germany; Tate Gallery, Liverpool Mirror's Edge, Bild Museet, Umeå, Sweden; toured to Vancouver Art Gallery, Canada; Castello di Rivoli, Torino, Italy; Tramway, Glasgow; Charlottenborg, Copenhagen, Denmark Citibank Private Bank Photography Prize, Photographers» Gallery, London In the Midst of Things, Bournville Village, Birmingham Secret Victorians, Arts Council Touring Exhibition, Ikon Gallery, Birmingham; Firstsite, Colchester; Arnolfini, Bristol; Middlesborough Art Gallery; Museum and Art Gallery, Brighton; Armand Hammer Museum, Los Angeles, USA Sensation, Brooklyn Museum of Art, New York, NY, USA 1998 Cinco Continentes y una Ciudad, Museo de la Ciudad de México, México D.F. Personal Effects; Sculpture & Belongings, Spacex Gallery, Exeter; toured to Angel Row Gallery, Nottingham Ethno - antics, Nordic Museum, Stockholm, Sweden Crossings, National Gallery of Canada, Ottawa, Canada Liberating Tradition, Bard Center for Curatorial Studies, New York, NY, USA Transatlantico, Centro Atlantico de Arte Moderno, Canary Islands, Spain Beyond Mere Likeness: Portraits from Africa and the African Diaspora, Duke University Museum of Art, Durham, North Carolina, NC, USA Global Vision; New Art from the»90s, Deste Foundation, Athens, Greece 1997 Sensation: Young
British Art from the Saatchi Collection, Royal Academy of Arts, London; toured to the National Gallery of Berlin, Germany and the Brooklyn Museum of Art, New York, NY, USA Portable Personal
Histories Museum, Ikon Gallery, Birmingham Trade Routes:
History and Geography, 2nd Johannesburg Biennale, South Africa Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966 - 1996, Caribbean
Cultural Center / African Diaspora Institute, New York, NY; Studio Museum, Harlem, NY; the Bronx Museum of the Arts, New York, NY, USA Pictura Britannica, Museum of Contemporary Art, Sydney, Australia; toured to the Art Gallery of South Australia, Adelaide and the City gallery, Wellington, New Zealand What, Trinity Buoy Wharf, London 1996 Pledge Allegiance to A Flag?
2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing
history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, Afric
history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel
History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, Afric
History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging
cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip,
British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Art?
Jeremy Deller's show focuses on
British society, its
cultural and political
history, its people, icons, myths — from the past, present, and an imagined future.
Notable group exhibitions include; «Cake and Lemon Eaters: Viktor Pivovarov and Ged Quinn», Galerie Rudolfinum, Czech Republic (2014); which toured to The Gallery of Fine Arts in Ostrava, Czech Republic (2014); «Somos Libres II», Pinacoteca Giovanni e Marella Agnelli, Italy (2014); «Landscape 2000», Osnabrück
Cultural History Museum and Felix Nussbaum Haus, Germany (2013 2014); «Looking at the View», Tate Britain, London, England (2013); «The Future is Not What It Used To Be», Newlyn Art Gallery, Penzance, UK (2013); «Beyond Reality:
British Painting Today», Galerie Rudolfinum, Prague, Czech Republic (2012); «Everywhere and nowhere», Reydan Weiss Collection, Oberstdorf, Germany (2012); «The Witching Hour», Water Hall, Birmingham Museum & Art Gallery, Leverkusen (2010); «Lust for Life & Dance of Death», Kunsthalle Krems (2010); «Newspeak:
British Art Now», Saatchi Gallery, London (2010) touring to State Hermitage Museum, St. Petersberg (2009); «Made Up», Liverpool Biennale, Tate Liverpool (2008); «Collezionami 2», Biennale of Southern Italy, Bari, Puglia (2006); and «The Real Ideal», Millennium Galleries, Sheffield (2005).
The film brings together many of the ideas behind the works in the Pavilion and features visual and thematic elements that reflect Deller's interest in the diverse nature of
British society and its broad
cultural, socio - political and economic
history.
I know one thing — MacGregor's liberal
history of
cultural encounters and global diversity, which he communicates through books and radio as well as
British Museum's displays, has taught people a lot more about global art than anyone will learn from Campbell's film.
2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau
Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand,
British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002
History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.
Selected by Site's Artistic Director, Laura Sillars, Curator of a Making Ways Sheffield exhibition, Jeanine Griffin and Head of Exhibitions at Museum's Sheffield, Kirstie Hamilton, Holmes's project, Dot Dot Dit Dit Dot Dot Dash investigates black
British cultural production, unspoken coded languages and the
history of black personae in popular culture.
As the Saatchi Gallery's CEO Nigel Herst noted, many
British know about social and political changes that Ukraine has been undergoing these days, but not many people really know about the
cultural history of our country.
1997 Sensation: Young
British Art from the Saatchi Collection, Royal Academy of Arts, London; toured to the National Gallery of Berlin, Germany and the Brooklyn Museum of Art, New York, NY, USA 1997 Portable Personal
Histories Museum, Ikon Gallery, Birmingham 1997 Trade Routes:
History and Geography, 2nd Johannesburg Biennale, South Africa 1997 Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966 - 1996, Caribbean
Cultural Center / African Diaspora Institute, New York, NY; Studio Museum, Harlem, NY; the Bronx Museum of the Arts, New York, NY, USA Pictura Britannica, Museum of Contemporary Art, Sydney, Australia; toured to the Art Gallery of South Australia, Adelaide and the City gallery, Wellington, New Zealand 1997 What, Trinity Buoy Wharf, London, England
British historian Simon Schama has written numerous award - winning books on the
cultural histories of countries including Holland and France, and is the author of the three - volume
History of Britain.
British artist Hurvin Anderson (born 1965), is best known for evocative paintings that engage with charged social
histories and shifting notions of
cultural identity.
Solo and group exhibitions include Ged Quinn, New Art Gallery Walsall, West Midlands, UK (2013 - 2014), Landscape 2000, Osnabru ck
Cultural History Museum and Felix Nussbaum Haus, Germany (2013 - 2014), Looking at the View, Tate Britain, London, England (2013), Endless Renaissance, Bass Museum, Miami, USA (2012 - 2013), FOCUS, Modern Art Museum of Fort Worth, Texas, USA (2012), Lust for Life & Dance of Death, Kunsthalle Krems (2010), Newspeak:
British Art Now, Saatchi Gallery, London (2010) touring to State Hermitage Museum, St. Petersberg (2009), Made Up, Liverpool Biennale, Tate Liverpool (2008) and Utopia Dystopia, Tate St. Ives, UK (2004).
The union represents 5,000 workers in UK
cultural institutions that have accepted money from BP or Shell, including Tate, the
British Museum and National Gallery, the National Portrait Gallery, the Science Museum and the Natural
History Museum.