#jerwood

[sheltiechicago]

Self portrait as my father, 2019.

© Silvia Rosi – Commissioned through Jerwood/Photoworks 2020.

Paris Photo

[thunderstruck9]

Geraldine Gliubislavich (French, 1978), Untitled, 2009. Oil on canvas, 92 x 67 cm. Jerwood Collection

[lovelyy-moonlight]

Your first look at Emma D'Arcy, Kayla Meikle and Ben Whishaw in Bluets 🔹

Bluets by Maggie Nelson, in a new stage adaptation by Margaret Perry plays in the Jerwood Theatre Downstairs 17 May - 29 Jun

Tickets are extremely limited. Book your tickets now at the link in bio 🔗

Via(@ royalcourt) on X.

[canvasmirror]

Dora Carrington

Dora Carrington (British/English, 1893-1932) • Self-Portrait • 1913 • Pencil, watercolour, gouache and chalks on paper • Jerwood Collection, London

[consanguinitatum]

David Tennant's Obscure Performances: His Involvement with Read Not Dead (pt 3) - What You Will

Okay - I promised to fill everyone in on the two unattributed plays David did for the Globe's Read Not Dead project, didn't I? So I'll begin the first never-before-talked-about-in-the-fandom play right now. If you want to catch up on the first two parts and understand a little bit of the history behind the Read Not Dead project before diving into this one, go here for the first part, and here for the second. Then come on back!

The second and third of the four Sunday afternoon staged readings David did while working with the Globe's Read Not Dead (heretofore called RND) project were written by the same author: John Marston. But before we get into the plays themselves, let's take some time to learn a little about John Marston.

Marston was an English playwright whose best known work is 1604's The Malcontent. He began writing in 1598. Much of his work was written for the boy’s theatre company Children of Paul’s and for the Blackfriars. If you went back to one of my previous posts about the Read Not Dead project and David's involvement in their staged reading of 1606's The Fleer by Edward Sharpham, you'll recall reading a bit about the Blackfriars (but if not, they were the Blackfriars Children, a theatre company wholly made up of boy actors.) Anyway, John Marston was a Blackfriars shareholder.

Marston's plays were very popular. He was a consummate satirist who made sure to include lust, violent imagery and impropriety in almost every play he wrote - his poetry was burned by church order! He even dared to satirize the King (though he had to apologize for that of course!) His satirical, critical work caused many a political scandal. Eventually in 1608 Marston was sent to Newgate Prison. After his release, he decided to abandon the theatre, move out of London, and take holy orders. He died in 1634, and to our knowledge never wrote another play. ( As an aside, I encourage you to learn more about Marston. As well as being a contemporary of Shakespeare, he's quite the fascinating character! Here's a good start.)

Okay. Let's go back to the "present" of 2002.

David was a busy boy! He began 2002 starring as Robert in Push Up, an ensemble play about ambition at work. Written by Roland Schimmelpfennig and directed by Ramin Gray, it opened 8 Febuary 2002 at the Jerwood Theatre at the Royal Court.

Push Up was a vignette-style play, and The Telegraph had this to say about it: "The meat of this 90-minute play consists of three edgy, aggressive dialogues between rivals in the firm." David played Robert, who "turns down a proposal from Patrizia for a new TV ad, identical, it turns out, to the one we have already heard described, except that the puddle is now located in New York's Central Park. The fact that these two once had great illicit sex together in Kramer's office, and were both too proud to contact the other afterwards, merely adds to their animosity."

(FYI, I've listened to an audio recording of this play, as it's archived at the British Library. It's stellar!)

David Tennant as Robert in Push Up, 2002

If you've read my previous threads, you'll recall David's first reading with RND was 1999's Edward III and his last was 2004's The Fleer. But now we're in 2002. And David hadn't done another staged reading with RND since 1999. But that was about to change.

Reviews for Push Up were very favorable. The acting was called outstanding, David's was called "a fine performance", and one reviewer said the "undertow of lust between Tennant and [co-star Jaqueline] Defferary [was] particularly riveting." Push Up's run ended in March 2002.

(Oh...I asked director Ramin Gray if there had ever been a programme for Push Up. He told me a printed edition of the play text with the cast list was available, but as far as he was aware, an official Royal Court programme wasn't made for the run. Published by Nick Hern Books, you can find it on Amazon!)

A month later (April 2002) David was treading the boards again as young security guard Jeff in Lobby Hero by Kenneth Lonergan. Set in the lobby of a middle-income Manhattan high rise, the play presented moral dilemmas about things like culpability, justice, and the dangers of truth. Lobby Hero opened at the Donmar from 10 April 2002 to 4 May 2002, then reopened at the New Ambassadors Theatre from 1 July 2002 to 10 August 2002. During its run, the play (& DT!) got rave reviews. It earned David a Olivier nomination for Best Actor, and the play for Best New Comedy.

David Tennant as Jeff in Lobby Hero, 2002

David was probably riding a bit high. Push Up had done well and he'd immediately gone to do Lobby Hero, which was generating awards buzz. But did you notice something about the Lobby Hero dates? David had a month off between runs. And he didn't just sit around twiddling his thumbs -- nope nope nope -- because we all know twiddling has never been David's style.

So on 26 May 2002, David showed up once again to participate in RND. This time it was for a comedy called What You Will, which the aforementioned playwright John Marston likely wrote around 1601 but which was not published until around 1607. What You Will was written while Marston was duking it out (in literary-fashion) with a contemporary writer called Ben Jonson. To say the two men didn't like each other was an understatement. They traded satirical jabs and placed caricatures of each other in their plays. And oh....if the play's title feels vaguely familiar to you, you're not wrong there either! Marston pinched the name of the play from a little old thing you might've heard of called Twelfth Night, written by some fellow called Shakespeare.

What You Will was full of song, music and dance, as it had been written for a children's theatre company. It had a large number of younger parts - pages and the like, and women - for the boys to fill (as I'm sure you'll recall, at this time women's roles were played by men and boys.) In addition to the music, it was also a satire as well as a romantic comedy. Set in Venice, it tells the story of Celia, who believes her husband drowned in a shipwreck. She plans to marry, but another of her suitors, Jacomo, schemes with her family to prevent this. David played the role of Jacomo.

And here's the cast list - again, all thanks and credit for the digitized list goes to the Globe Archives!

Here's a more in-depth look at the plot, and here's a link to the full text of the play, if you're interested.

This performance was recorded, though I haven't listened to it (and sadly, the archive notes the last part of the audio is cut off.) You can listen to the recording of the performance and others from the series, as the recordings are archived in the Globe Archive and Library in London. Access to the archive is available by appointment only for professionals and academics affiliated with institutions of higher education.

So on that Sunday in 2002, David joined in to perform the satirical musical romantic comedy What You Will, directed by James Wallace. And speaking of musical parts - there was singing and dancing to do, scripts in hand. And Jacomo had at least one song to sing!

I'm sure many of you have wondered whether David's done any honest to goodness musicals during his career. Well, I'm here to tell you that while he's burst into song relatively recently and briefly with Don Juan In Soho and Good, and quite possibly with What You Will as well (I haven't listened to the recording of the play to see if David actually sang) - I can provide a partial answer to that question. In a previous interview he mentioned an early play he did in drama school called The Hired Man and said he was a member of the chorus. Yes, that's true, he was, and yes, he did sing in that 1989 production (listen here to hear him sing part of what he sang then.) So he's certainly flirted with the genre. But as I've done much research into those early days of his, there miiiiiight be a few other productions in which he sang. *ahem* I'm just sayin'.

All that comes later. For now, here ends the tale of What You Will. But don't despair - I mentioned earlier we've got one more staged RND reading of David's to explore, and I hope you'll tune in to hear about it, too!

[poemsandpromises]

Pics of Nicola from the theatre production of Fresh Kills.

FRESH KILLS' (Elyzabeth Gregory Wilder - director: Wilson Milam),Nicola Walker (Marie),Jerwood Theatre Upstairs / Royal Court Theatre, London SW1 08/11/2004.

[clonkwing]

Barbara Hepworth Study for Lisa (hands to face) 1949

Drawing the Unspeakable

at Towner, Eastbourne, 5 October 2024 - 27 April 2025

Curated by David Dimbleby, who steps down from 10 years as Chair of Towner in September, and his daughter, Liza, this exhibition will draw on the intensity of human experience, a translation of an event or moment specific to each artist. These challenge the conventions of speech; disasters, war, displacement, and destruction, mental illness, grief, loss, dreams, memories and imagining. Drawing the Unspeakable will include 6 works on loan from Jerwood Collection: Figures in motion, 1955 by Elisabeth Frink RA, Study for Lisa (Hands to Face), 1949 by Barbara Hepworth; Boat, 1974 and Bust of a Woman with Serpents, 1973 by Roger Hilton; Woman Resting (the artist's mother), circa 1963 by Leon Kossoff; and Two Figures, 1946-47 by Keith Vaughan.

[ubu507]

Daphne Spencer with a Green Scarf Stanley Spencer (1891–1959) Jerwood Collection

[goalhofer]

2024 olympians representing non-birth nation by country part 1

USA: Zhang Beiwen, badminton (China); Miles Chamley-Watson, fencing (U.K.); Luca Cupido, water polo (Italy); Jaime Czarkowski, swimming (Canada); Joel Embiid, basketball (Cameroon); Grant Fisher, athletics (Canada); Margherita Guzzi-Vincenti, fencing (Italy); Colin Heathcock, fencing (China); Madison Hughes, Rugby (U.K.); Kirsten Kasper, triathlon (Canada); Weini Kelati-Frezghi, athletics (Eritrea), Leonard Korir, athletics (Kenya); Maria Laborde, judo (Cuba); Lucas Lacamp, rugby (China); Catarina Macário, Soccer (Brazil); Boyd Martin, equestrian (Australia); Abdi Nur, athletics (Somalia); Marcus Orlob, equestrian (Germany); Steffen Peters, equestrian (Germany); Ruby Remati, swimming (Australia); Jovana Sekulic, water polo (Serbia); Aliaksei Shostak, gymnastics (Belarus) & Kieran Smith, swimming (Australia) Afghanistan: Kamia Yousufi, athletics (Iran) Albania: Zelimkhan Abakarov, wrestling (Russia); Islam Dudaev, wrestling (Russia) & Chermen Valiev, wrestling (Russia) Algeria: Saoussen Boudiaf, fencing (France); Mehdi Bouloussa, table tennis (France); Carole Bouzidi, canoeing (France); Zohra Kehli, fencing (France); Koceila Mammeri, badminton (France); Tanina Mammeri, badminton (France) & Kaylia Nemour, gymnastics (France) Angola: Albertina Kassoma, handball (Cape Verde) Antigua & Barbuda: Tiger Tyson, sailing (New Zealand) Argentina: José Larocca; Jr., equestrian (Switzerland); Federico Redondo, soccer (Spain) & Rocco Ríos-Novo, soccer (U.S.A.) Aruba: Philip Elhage, shooting (Curaçao) & Just Van Aanholt, sailing (The Netherlands) Australia: Mariafe Artacho-Del Solar, volleyball (Peru); Kelsey-Lee Barber, athletics (South Africa); Oliver Bleddyn, cycling (U.K.); Nagmeldin Bol, athletics (Sudan); Tim Brand, field hockey (The Netherlands); Rhiannan Brown, sailing (Thailand); Carolyn Buckle, swimming (Singapore); Bronte Campbell, swimming (Malawi); Eileen Cikimatana, weightlifting (Fiji); Bronwyn Cox, rowing (U.K.); Joseph Deng, athletics (Kenya); Sinead Diver, athletics (Ireland); Dominique Du Toit, rugby (Zimbabwe); Matthew Ebden, tennis (South Africa); Thaisa Erwin, equestrian (U.K.); Sergei Evglevski, shooting (Belarus); Jessica Fox, canoeing (France); Noemie Fox, canoeing (France); Dr. Elena Galiabovitch, shooting (Belarus); Raphaelle Gauthier, swimming (France); Daniel Golubovic, athletics (U.S.A.); Kathi Haecker, judo (Germany); Danijela Jackovich, water polo (U.S.A.); Min Jee, table tennis (South Korea); Nia Jerwood, sailing (U.K.); Maddison Keeney, diving (New Zealand); Alexandra Kiroi-Bogatyreva, gymnastics (New Zealand); Amy Lawton, field hockey (U.K.); Alysia Lefau-Fakaosilea, rugby (New Zealand); Kyle Lee, swimming (Zimbabwe); Mackenzie Little, athletics (U.S.A.); Oceana Mackenzie, climbing (Germany); Ezi Magbegor, basketball (New Zealand); Setyana Mapasa, badminton (Indonesia); Miloš Maksimović, water polo (Serbia); Jacob Merčep, water polo (Croatia); Rowena Meredith, rowing (U.K.); Samantha Morton, rowing (China); Thomas Neill, swimming (China); Conor Nicholas, sailing (Malaysia); Georgii Okorokov, wrestling (Russia); Keegan Palmer, skateboarding (U.S.A.); Duop Reath, basketball (South Sudan); Yual Reath, athletics (South Sudan); Matthew Richardson, cycling (U.K.); Daria Saville, tennis (Russia); Breanna Scott, gymnastics (Singapore); Declan Tingay, athletics (U.S.A.); Ajla Tomljanović, tennis (Croatia); Josh Turner, rugby (New Zealand); Jean Van Der Westhuyzen, canoeing (South Africa); Pierre Van Der Westhuyzen, canoeing (South Africa); Milena Waldmann, swimming (Uzbekistan); Samantha Whitcomb, basketball (U.S.A.) & Joshua Yong, swimming (Brunei) Austria: Lorena Abicht, sailing (Germany); Anna-Maria Alexandri, swimming (Greece); Eirini-Marina Alexandri, swimming (Greece); Wachid Borchashvili, judo (Russia); Enzo Diessl, athletics (Argentina); Max Kühner, equestrian (Germany); Lukas Mähr, sailing (Germany); Lubjana Piovesana, judo (U.K.); Sofia Polcanova, table tennis (Moldova) & Elisabeth Straka, archery (Germany)

[insanityclause]

Tom Hiddleston - 42 years, 42 performances

Hamlet

'Hamlet'

September 2017 - RADA's Jerwood Vanbrugh Theatre

[fluralbannach]

Funding opportunities, Funding bodies/organisations and Exhibition opportunities

Opportunities and Organisations Supporting Visual Artists in Scotland

By distributing funds from the Scottish Government and the National Lottery, Creative Scotland is a critical lifeline for Scotland's film, television, and creative industries. This financing supports a wide range of groups throughout Scotland, fosters personal growth, funds creative ideas, fresh projects, and new work, and carries out targeted activities in partnership with other organisations. Creative Scotland seeks to address the significant need for support among artists and independent contractors by offering a range of financing options and initiatives.

Creative Scotland Open Fund

The Creative Scotland Open Fund allows people and organisations to experiment with new ways of working and adjust to the constantly shifting conditions of the modern world. With applications ranging from £1,000 to £100,000, the fund provides substantial financial support. Due to this versatility, artists can work on various projects, from modest solo endeavours to larger organisational endeavours. For visual artists who need to be creative and find new ways to produce and exhibit their work in the face of constant obstacles, the Open Fund is essential.

Visual Artist and Craft Makers Awards (VACMA)

The Visual Artist and Craft Makers Awards (VACMA) gives small grants to Scottish-based visual artists and craft makers to help with their professional and creative growth. In collaboration with several local administrations and art agencies, VACMA offers grants of £500 and £750. The application deadline is November 10th. These grants are crucial for artists who want to improve their professional practices, create new projects, and hone their skills.

Jerwood Live Work Fund

With a total value of £660,000, the Jerwood Live Work Fund is expected to provide 12 months of help for at least 33 persons. £20,000 will be awarded to each grantee to help them modify how they produce and distribute live content. This grant is intended for producers, artists, and creatives with no more than ten years of experience whose primary concentration was live performance before COVID-19. Music, theatre, opera, circus, dance, live art, and performance are among the arts that qualify, as do those who work at the nexus of these disciplines. The initiative intends to assist artists in navigating and thriving in the post-pandemic landscape. Applications are due by November 16th.

Tasgadh Small Grants for Traditional Arts Fund

Open to individuals and organisations, the Tasgadh Small Grants for Traditional Arts Fund is administered by Fèisean nan Gàidheal and devolved from Creative Scotland. It helps established performers, artists, and organisations make, tour, and exhibit their work. The fund can also support learning initiatives and professional development to ensure the continuous development and preservation of Scotland's rich traditional arts legacy.

Balavoulin Art Group (BAG) Grants

Currently accepting applications are artists with a solid connection to Scotland’s Highlands and Islands region for the Balavoulin Art Group (BAG) Grants. BAG is dedicated to helping artists who persevere in their projects and professional growth despite obstacles. Submissions are accepted through November 15 and assist artists from this distinctive and culturally vibrant region.

Other Funding Opportunities

While the British Council's Connections Through Culture Arts and Creative Economy Research fund supports UK-based artists, cultural professionals, and members of art collectives, the Awesome Foundation Glasgow Chapter offers £500 monthly mini-grants for creative initiatives. The William Syson Foundation Funding is available to individuals and non-profit arts organisations in Scotland. Grants up to £5,000 are available, with more considerable amounts beginning at £5,001. The application deadline is November 8th (as of 2024); however, submissions are accepted anytime.

Art Fund's Small Project Grants

Small project grants from The Art Fund enable galleries, museums, and other visual arts groups to realise their creative visions. Up to £10,000 in grants are given to projects, activities, and results that fit into one or more of the Art Fund’s four programming strands: Creating connections, Building collections, Shaping futures, and Reaching audiences. Public museums, galleries, historic homes, libraries, and archives with open spaces are among the organisations that qualify.

Networking and Exhibitions

Networking is crucial for visual artists looking for exhibition chances and career growth. Access to exhibition calls, feedback on one's work, and relationships with curators and galleries can all be obtained via joining networks. These networks provide a community of shared learning and support by making partnerships possible that otherwise might not have been possible. Group exhibitions staged by artists can also give artists vital exposure and experience, giving them a platform to present their work to larger audiences. Furthermore, networking assists artists in remaining current on financing opportunities, professional development tools, and industry trends—all essential for maintaining a vibrant and successful artistic career.

Conclusion

The abundance of financing options and support services that Scotland offers visual artists indicates its dedication to fostering and maintaining the creative industry. Artists have many opportunities to investigate and advance their techniques, ranging from large grants from Creative Scotland to more focused, smaller initiatives like VACMA and the Awesome Foundation. In addition to providing financial assistance, these funds promote a feeling of belonging, teamwork, and professional development. Whether you are a painter, sculptor, or computer artist, taking advantage of these chances can significantly improve your professional and personal fulfilment.

REFERENCES

Funding | Creative Scotland

Current Funding Available For Artists - Scottish Contemporary Art Network

Access All Arts Fund

Art Fund | Creative Lives

Arts funding opportunities — Glasgow Life

Getting an exhibition

[zawescource]

 Zawe Ashton as Armani in a production at Jerwood Theatre Upstairs At The Royal Court, London, UK, February 2007.

[thunderstruck9]

Craigie Aitchison (British, 1926-2009), Saint Francis, 1993. Oil on canvas, 30.5 x 25.5 cm. Jerwood Collection

[mybeingthere]

Philip Eglin (b. 1959) studied at Staffordshire Polytechnic (1979-82) and the Royal College of Art, London (1983-86).  He exhibits internationally and was awarded the Jerwood Prize for Applied Arts in 1996.

Eglin’s ceramic works reflect and comment on contemporary culture.  Eclectic in their references, he has likened his characteristic intermingling of cultural icons, ephemeral images, symbols of consumer culture and handwritten scripts to channel hopping.  

References are made to a heterogeneous array of sources including Northern Gothic religious woodcarvings, Chinese export porcelain, English folk ceramics and the language of symbols used on contemporary packaging.  His interest in such artefacts is not solely because of their intended aesthetic, but extends to the characteristic shapes and marks that are found on the underside and backs of objects.  His most recent work explores juxtapositions of imagery related to football, religion and sex.

https://www.philipeglin.com/

[shelleytheodore]

CV

SHELLEY THEODORE Born in Brisbane, Australia Lives and works in London, Barcelona and France https://shelleytheodore.tumblr.com/ https://www.axisweb.org/p/shelleytheodore/ EDUCATION 2012 MA Visual Art (Fine Art), Camberwell College of Art, University of the Arts, London 1995 Bachelor of Fine Art (Hons), Goldsmiths College, University of London 1992 Dept of Continuing Education, Goldsmiths College, University of London, Certificate in Art 1980 Bachelor of Social Work, University of Queensland, Australia SELECTED EXHIBITIONS AND PUBLICATIONS 2022 Artist Feature Special Issue: Best Artists of 2022 Magazine 43, Hong Kong 2022 Magazine 43 Film Friday featured artist April 2022 https://magazine43.substack.com 2021 Deptford X Festival, Art in the open Supported Application Guide shapeslewisham introducing@shelley_theodore 23 March 2021 Deptford London 2021 Post Analogue Labyrinth IV, virtual exhibition, https://www.artsteps.com/view/ 6092eeaca33cc06fe89a823f 2019 Post Analogue Labyrinth Ill, as part of DEPTFORD X FRINGE, AAJA Deptford 2018 Post Analogue Labyrinth 11, Sister Midnight Records 4 Tanners Hill London Gaze, Axisweb: Contemporary Art UK Network, online exhibition Aesthetica Issue 81, p157, Artists' Directory, Published on Jan 24,2018 2017 Drawing Open, 26 -28 May, No Format Gallery, Arch 29, Rolt Street, Deptford 2016 Prison Drawing Project, Dean Road Prison, Scarborough, UK Artrooms Fair 2016, Melia Whitehouse Hotel, London 2015 Uncertain States Annual, Mile End Art Pavilion, Mile End 2014 Pala, an online digital program of artist's film and video works curated by Laura Mansfield 2013 Bloomberg New Contemporaries 2013, Spike Island, Bristol, and ICA, London 8 STUDIOS FROM HERE, Faircharm Studios, Deptford Postcard From My Studio, Acme Project Space 44 Bonner Road, Bethnal Green, London 2012 Crash OPEN, Charlie Dutton Gallery, 1a Princeton Street, London The Salon Art Prize Exhibition 2012, Matt Roberts Art, 25b Vyner Street, London Jerwood Drawing Prize Exhibition 2012, Jerwood Space, London No Now, Space Station Sixty Five, Kennington Bend over Shirley, Beaconsfield Contemporary Art 2011 CCW Artist Moving Image, HMV Curzon, Wimbledon 'Chain letter' worldwide exhibition 2011, GIBSMIR family, Zurich, Switzerland. Flash in the Pan, curated by Naomi Sidefin and David Crawford, Beaconsfield Contemporary Art The Unsung Heroes of the studio, ASYLUM, The Chapel, Caroline Gardens, Peckham 2010 Peckham Space Open, Peckham Space, Peckham Deptford X Fringe Award, Deptford X Fringe Nunhead Open Art Exhibition, The Surgery, Nunhead 2009 Creekside Open, selected by Mark Wallinger, APT Gallery, Deptford Creekside Open, selected by Jenni Lomax, APT Gallery, Deptford 2008 London Art Fair, Islington, Beverley Knowles Fine Art 2007 London Art Fair, Islington, Beverley Knowles Fine Art RESIDENCIES 2022 Studio Residency, San Quirze Safaja, Barcelona 2021 Photography Workshop with Architect Lisa Harmey and architecture students University of Cardiff, UK 2015 'Backs to the Future' Residency, FIVE YEARS 66 Richmond Studios, 8 Andrews Road, E84QN 2014 2014 LUX Critical forum, London 2012 Gasworks Curatorial Workshop, Gasworks 2011 Urban fabric 2 (UF2) Paradox Conference, Crawford College of Art and Design, Cork, Ireland 'Sculptural Drawing Collaboration', The Woodmill Project Space, Bermondsey

[cats-through-the-ages]

Christopher Wood with cat

Christopher Wood, a harpishordist and professor at Trinity College of Music, with his cat (name unknown) ca. 1930

Source: Jerwood Library of the Performing Arts