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Kennedy D.,Tate
Engineered Systems | Year: 2012

Daniel Kennedy suggests measures that need to be adopted by data center operators to prevent positive differential pressure from being a negative factor in such a facility's energy budget. Many engineered solutions to improve data center cooling efficiency and operation come to market every quarter and many of them are accepted into new data center construction due to the benefits derived from them. One solution that remains is the simple idea of containing the cold or hot air paths in the space, separating them, and increasing site efficiency while providing a more predictable operating environment. This solution is deployed before companies gain a full understanding of the implications that these changes will have on the operating space. It is also important to understand the design of data centers prior to the mid-2000 time frame.

Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 138.97K | Year: 2015

Within the context of safeguarding tangible heritage for current and future generations, 20th- and 21st-century oil paintings are presenting a range of challenging problems that are distinctly different from those noted in paintings from previous centuries. Problems are often but not exclusively associated with unvarnished, unprotected surfaces. Phenomena increasingly observed include the formation of vulnerable surface skins of medium on paint surfaces, efflorescence, unpredictable water and solvent sensitivity, and alarming incidences of dripping paints several years after the paintings have been completed. The current lack of understanding of the nature of change in modern manufactured oil paints means that the established empirical approach to conservation treatments such as surface cleaning are not applicable to a great number of works. In particular, commonly used systems that rely upon water as a major component cannot be applied to clean modern oil paintings. So far, few alternative methods of treatment have proven effective and as a consequence the presentation of modern oil paintings may be compromised. This project aims at making a significant impact on our understanding of the reasons behind these phenomena by exploring several aspects of paint formulations (oil fraction, pigment-medium interactions, additives) and case study works of art. This will in turn facilitate the modification and development of surface cleaning systems that are more appropriate for use on the increasing numbers of unvarnished oil paintings in international and private collections. New cleaning systems will be trialed on works of art in several internationally significant public collections. This information will be disseminated via web platforms, seminars, conferences and a documentary for the general public and the cleaning systems will be introduced through continuous professional development workshops for practicing conservators, thereby offering practical solutions to conservators facing these difficult challenges.

Tate | Date: 2011-03-02

According to the invention a walking aid comprising in combination a front member and a rear member, each having a pair of mono-directional ratchet type wheels at its lower ends, hinge means with adjustable degree of rotational freedom pivotally connecting the said front and rear members together at their upper ends, adjustable spring means around the pivots connecting the said hinges providing resistance when front member extends forward and assistance when rear member retracts forward, a rearward extending u-shaped handlebar with handgrips attached to the rear member for support, between which user stands squarely within the wheel base. Pushing down on the said handgrips forces the rear ratchet wheels to anchor on the supporting surface allowing the front wheels to advance spreading the supporting trestle-like structure, pulling up on the handgrips forces the front ratchet wheels to anchor and allow the rear wheels to retract to original position.

Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 19.84K | Year: 2012

With the growth of digital technology, there is a new expectation among potential users of artist books and those that collect and care for them that the activities of making, cataloguing, storing, displaying, handling and looking at artist books can and should be enhanced by the digital. This proposal begins from recognition that important national collections of artist books are, sadly, largely inaccessible to the majority of their potential users and that this situation can be transformed through digital technology. Rather than viewing the computer screen and electronic text and image as a challenge or threat to the physical printed page, the proposed research network will explore the potential of the digital to transform our understanding, appreciation and care of artist books. The workshops will each address a different theme pertinent to the study of artist books and digital transformations. Workshop One will address two different but related questions. First, it will work with technology specialists to examine the relationship of the physical book with its digital representation and how that might be rendered. Drawing on the expertise of technology specialists at Tate, the British Library and elsewhere, this first session will think through just how those transformations might be achieved. Secondly, it will work with book artists and librarians to interrogate how that transformation might affect users experience of the book. Touch, scale and the intimate relationship of the book to its reader are important issues to be explored in this session, which will ask what might be lost, gained or elided in creating digital representations of the artist book. In exploring both of these questions, this session will also reference the findings of related projects such as Touch and the Value of Object Handling (2006-7) and Creative Digital Media Research Practice: Production through Exhibition (2008-10), both funded by the AHRC. Workshop Two will work with artists to better understand recent developments in the creation of artist books in digital form. By extending our understanding of the concepts and formats of artist books from the printed page to iPOD publications, free downloadable e-books, hypertext works and phone-based works, for instance, this workshop will ask how we might nurture those practices and facilitate their growth. By engaging directly with contemporary practice in this way, the network will engage with understanding significant shifts in the nature of the artist book. This session will reference the findings of related projects such as What Will be the Canon for the Artist Book in the 21st Century? (AHRC funded 2008-10). It will extend those debates by asking how we might engage with these new modes of production in the art school, the museum and the library. Workshop Three will ask how artist books of all forms can be catalogued to make them more accessible and so transform the way in which people can engage with them. Should they be catalogued as both books and art objects? Should they be more fully catalogued to enable thematic searching? How we might collect new formats of artist books? Should an image be provided to allow visual browsing? And how might questions of copyright be addressed in the context of making collections more accessible?

LONDON, Nov. 28, 2016 /PRNewswire/ -- .ART, the first domain created exclusively for the global art community, is pleased to announce that more than 60 world-renowned museums and arts organisations will launch dedicated websites on the new top-level domain, including the Art Institute of Chicago, Centre Pompidou, Fondation Beyeler, Fondation Cartier, Guggenheim Museum, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Tate and Walker Art Center, among others. As early adopters of .ART, these organisations have exciting plans to activate their new domains, some of which include fully migrating or consolidating their existing websites to .ART, while others are launching new dedicated websites to showcase unique content from their artists and/or collections. "Our mission is to preserve the cultural legacy of the global art world. We are honoured that so many respected institutions from all over the world share our vision and conviction that .ART will transform the arts community's relationship with the internet and help protect their brand's heritage online," explains Ulvi Kasimov, Founder of .ART. John Matson, CEO of .ART continues, ".ART provides a new way for the art world to identify online. The domain is short, simple, memorable, and has immediate association with the arts. For our Early Adopters, a .ART domain is a natural expression of their brand." Early adopters will be given first access to .ART domain names, and thus, have the opportunity to launch content on their respective websites in advance of domains being available for purchase by the general public in summer 2017. .ART's early adopters shared their enthusiasm: Tate's Digital Director, Ros Lawler, says the museum is "delighted to take part in the launch of this new domain, which will help promote some of the world's greatest art collections, galleries and museums." Benoît Parayre, Director of Communication and Partnerships at the Centre Pompidou explains, "A domain name for the art world has been long overdue and will now allow many cultural industry leaders, museums, art centres, galleries, collectors, etc. to have more relevant domain names to promote their collections and programming." "The Fondation Cartier pour l'art contemporain is excited to become a part of .ART's new digital neighbourhood and evolve its programs even further," says Digital Manager, David Desrimais. Anton Vidokle, artist and founder of e-flux, adds, "The internet carries profound educational potential, and a reliable and informative domain dedicated to art will provide an invaluable source of knowledge. The art domain will become an effective platform that dignifies the excellent work of art organisations and artists from all parts of the world for all who love and care about the arts." Dominique Chevalier, President of the Syndicat National des Antiquaires (SNA), which organizes the Biennale des Antiquaires at the Grand Palais in Paris, explains "For us, and for our galleries, '.com' is too commercial and '.fr' is too generic. The problem with most domain names is that they don't say anything about the business that you do, '.ART' solves that." Lélia Pissarro, co-owner of Stern Pissarro Gallery and great-granddaughter of artist Camille Pissarro, adds, "The internet has had the biggest impact on the global art market. It has brought art to every corner of the world. The way forward in terms of domain names is clearly to categorize industries. We feel that with what the Pissarro names represents, marrying it with '.com' lacked elegance. Having the possibility to now use 'pissarro.art' is simply the perfect solution. It fills a long lasting gap in our marketing strategy and the way we project ourselves." The early adopters have wide-ranging plans for their respective sites: Tate, LACMA, Multimedia Art Museum, and the Solomon R. Guggenheim Museum, will create websites highlighting various aspects of their collections, while the Fondation Cartier will use the domain to make its collection available to the public for the first time ever. Meanwhile, Centre Pompidou will launch a dedicated website with helpful information in English and other languages for its foreign visitors. Hauser & Wirth will celebrate the gallery's 25th anniversary with the launch of an interactive website featuring a visual chronology detailing the gallery's nearly three-decade history. In addition, Canesso Gallery, Galerie Meyer Oceanic & Eskimo Art, Galerie Perrin, Tomasso Brothers Fine Art, Stern Pissarro Gallery, and Venus will fully migrate their existing websites to their new .ART domains. Beginning in February 2017, .ART domain names will be available for registration to professional members of the art world, ensuring that key stakeholders are given the opportunity to secure their desired domains first.

Art Institute of Chicago, Centre Pompidou, Fondation Beyeler, Foudation Cartier, Guggenheim Museum, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Tate a Walker Art Center, a jiné instituce budou mezi prvními, které spustí své webové stránky na doméně .ART LONDÝN, 28. listopadu 2016...

News Article | November 28, 2016
Site: www.prnewswire.com

-.ART, el primer dominio de Internet dedicado al arte y la cultura, se lanza con más de 60 museos y organizaciones de arte reconocidos El Art Institute of Chicago, Centre Pompidou, Fondation Beyeler, Fondation Cartier, el museo Guggenheim, Hauser & Wirth, ICA Miami, LACMA, MAXXI,...

LONDRES, 28 de noviembre de 2016 /PRNewswire/ -- .ART, el primer dominio creado exclusivamente para la comunidad del arte global, se complace en anunciar que más de 60 museos y organizaciones artísticas de renombre mundial lanzarán sitios web dedicados en el nuevo dominio de primer nivel,...

The Art Institute of Chicago, Centre Pompidou, Fondation Beyeler, Fondation Cartier, Guggenheim Museum, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Tate and Walker Art Center, among others, will be the first to launch websites on .ART LONDON, Nov. 28, 2016 /PRNewswire/ -- .ART, the...

O Instituto da Arte de Chicago, Centro Pompidou, Fondation Beyeler, Fondation Cartier, Museu Guggenheim, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Centro de Arte Tate and Walker, entre outros, serão os primeiros a lançar website com o domínio .ART LONDRES, 28 de novembro de 2016...

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