MacGonigal, Maurice, (1900–31 Jan. 1979), Professor of Painting, Royal Hibernian Academy; Member of Board of Governors, National Gallery of Ireland; Member of Advisory Committees: of Municipal Gallery of Modern Art; for Wolfe Tone Memorial; Coun. of Industrial Design, Ireland; Currency Design Council

2016 ◽  
Vol 41 (2) ◽  
pp. 78-87
Author(s):  
Alice Harvey

Definitions, uses and management of ephemera are explored in this article, a response to the pioneering ‘Arty choke: acquisition and ephemera’ by Nik Pollard, published in the 1977 winter issue of Art Libraries Journal. The author, in conversation with the Librarian of the Scottish National Gallery of Modern Art, discusses key ideas put forward in the original text and assess their relevance in relation to current art ephemera collections in UK libraries.


Author(s):  
Amanda H. Hellman

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.


Author(s):  
Angela Philp

Sidney Nolan is a renowned Australian artist, especially for his iconic rendering of the bushranger and anti-hero Ned Kelly. Primarily known as a painter, he worked prolifically across a wide range of media, from drawing and printmaking to murals, stage design, and collage, completing thousands of works. Born in Melbourne, Nolan studied at the National Gallery School from 1934 to 1936, though he was more interested in connecting with other artists than the conservative teaching, and preferred reading in the library to sitting in class. Interested in abstraction and modern art, he sought to challenge the vision of Australia’s popular Heidelberg School of painting.


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