Featured Events in Leeds in December, 2024 (May Updated)

Welcome to The Snowman, Live! Leeds event happening on Sun Dec 08 2024 at Clothworkers Centenary Concert Hall! Join us for a magical experience as we bring the beloved story of The Snowman to life on stage. Watch as the enchanting tale unfolds through live music, stunning visuals, and special effects. Don't miss out on this festive event that will surely delight audiences of all ages. Get ready to be transported to a winter wonderland filled with joy and wonder! A 45 minute running time makes this event a great way to introduce children to live music and cinema experience. Family tickets available! Information Source: Yorkshire Imperial Band | eventbrite

10 of the biggest stars from the darts world decend on Leeds for the biggest Christmas party of the year Information Source: Raw events | eventbrite

With huge state-of-the-art projections and a revolutionary sound system, Bigger & Closer (not smaller & further away) invites you to experience the world through David Hockney’s eyes. After opening at Lightroom in London to rave reviews, this is the first time the show has travelled outside of the capital. Get an insight into the legendary artist’s process as you journey through six different chapters of his work, seeing the room around you light up and change. Covering his work from LA to Yorkshire, and up to the present day in Normandy, the show is an incredible opportunity to get to know one of the great popular geniuses of the art world still experimenting with new technology to create beauty and wonder. Hear from Hockney as you watch how he experiments with perspective, uses photography as a way of ‘drawing with a camera’, captures the passing of time in his polaroid collages and the joy of spring on his iPad – and shows us why only paint can properly convey the hugeness of the Grand Canyon. With a specially composed score by Nico Muhly guiding your experience, enjoy the work of this legendary artist in a whole new light.

With huge state-of-the-art projections and a revolutionary sound system, Bigger & Closer (not smaller & further away) invites you to experience the world through David Hockney’s eyes. After opening at Lightroom in London to rave reviews, this is the first time the show has travelled outside of the capital. Get an insight into the legendary artist’s process as you journey through six different chapters of his work, seeing the room around you light up and change. Covering his work from LA to Yorkshire, and up to the present day in Normandy, the show is an incredible opportunity to get to know one of the great popular geniuses of the art world still experimenting with new technology to create beauty and wonder. Hear from Hockney as you watch how he experiments with perspective, uses photography as a way of ‘drawing with a camera’, captures the passing of time in his polaroid collages and the joy of spring on his iPad – and shows us why only paint can properly convey the hugeness of the Grand Canyon. With a specially composed score by Nico Muhly guiding your experience, enjoy the work of this legendary artist in a whole new light.

Zapraszamy na rockowo-gadany stand up muzyczny Tomasza Karolaka - bilety już w sprzedaży! 50 i co? czyli muzyczne przygody Tomasza. Rockowo gadany stand up muzyczny. Najnowsze dziecko i autorski show Tomasza Karolaka, który jest podsumowaniem jego dotychczasowej drogi jako aktora ale również muzyka i wokalisty. Bogate życie artystyczne, skłoniło artystę do podzielenia się ze światem jego przeżyciami. Cięty a zarazem inteligentny i pozbawiony skrupułów, rockowy język Tomka, wprowadzi Was w świat show biznesu jakiego nie znacie. Stand up przedzielony piosenkami śpiewanymi na żywo przez Tomasza, które towarzyszą mu do tej pory w jego drodze artystycznej. Information Source: Sherlock Media Events | eventbrite

Selected from the world-leading library of antiques dealer John Bedford, ornate patterns by a renaissance pioneer, designs by Chippendale, Sheraton, Pugin and Morris, elaborate trade cards, colourful catalogues, drawings and manuals show how ideas and trends took shape, gained influence, and were eventually revived as fashions came full circle. Upholsterer and furniture dealer Daniel Thorn might be less of a household name, but his personal sketchbook of designs for drapery, curtains and furniture is a lively working record of the looks of the late-18th and early-19th centuries. Other highlights include the only complete coloured copy of ‘The ladies amusement’, an 18th century book of decorative designs made to cut out and paste. Henry Lawford’s gloriously garish 1855 fold-out sofa catalogue sweeps away clichés of dismal Victoriana in a colour-lithographed riot of puce, lavender and pea-green. The exhibition also celebrates Bedford’s life, his vast knowledge and his generous legacy to the University of Leeds, which enabled the extension and refurbishment of The Brotherton Research Centre and the establishment of The John Bedford Fellowship, in addition to the donation of his dazzling library.

Selected from the world-leading library of antiques dealer John Bedford, ornate patterns by a renaissance pioneer, designs by Chippendale, Sheraton, Pugin and Morris, elaborate trade cards, colourful catalogues, drawings and manuals show how ideas and trends took shape, gained influence, and were eventually revived as fashions came full circle. Upholsterer and furniture dealer Daniel Thorn might be less of a household name, but his personal sketchbook of designs for drapery, curtains and furniture is a lively working record of the looks of the late-18th and early-19th centuries. Other highlights include the only complete coloured copy of ‘The ladies amusement’, an 18th century book of decorative designs made to cut out and paste. Henry Lawford’s gloriously garish 1855 fold-out sofa catalogue sweeps away clichés of dismal Victoriana in a colour-lithographed riot of puce, lavender and pea-green. The exhibition also celebrates Bedford’s life, his vast knowledge and his generous legacy to the University of Leeds, which enabled the extension and refurbishment of The Brotherton Research Centre and the establishment of The John Bedford Fellowship, in addition to the donation of his dazzling library.

Selected from the world-leading library of antiques dealer John Bedford, ornate patterns by a renaissance pioneer, designs by Chippendale, Sheraton, Pugin and Morris, elaborate trade cards, colourful catalogues, drawings and manuals show how ideas and trends took shape, gained influence, and were eventually revived as fashions came full circle. Upholsterer and furniture dealer Daniel Thorn might be less of a household name, but his personal sketchbook of designs for drapery, curtains and furniture is a lively working record of the looks of the late-18th and early-19th centuries. Other highlights include the only complete coloured copy of ‘The ladies amusement’, an 18th century book of decorative designs made to cut out and paste. Henry Lawford’s gloriously garish 1855 fold-out sofa catalogue sweeps away clichés of dismal Victoriana in a colour-lithographed riot of puce, lavender and pea-green. The exhibition also celebrates Bedford’s life, his vast knowledge and his generous legacy to the University of Leeds, which enabled the extension and refurbishment of The Brotherton Research Centre and the establishment of The John Bedford Fellowship, in addition to the donation of his dazzling library.

Sculpture and photography have existed in close proximity ever since the birth of photography in the early decades of the nineteenth century. Sculpture was one of the first subjects to be photographed, in part on account of its immobility which proved ideal for the long exposure times required for the early photographic processes and the suitability of white plaster and marble for a black and white medium. It has remained an important subject throughout photographic history, utilised by some of the most well-known photographers over the past 150 years, from William Henry Fox Talbot (1800-77) to Walker Evans (1903-75). Throughout this time photography has continued to influence the conception, process, documentation, marketing, display and reception of sculpture. Sculptors have not only collaborated with photographers but have themselves experimented with photographic techniques in the creation and documentation of artworks, including the use of cameraless photography, polaroids, collage and montage. This display explores the role played by photography across the history and practice of sculpture from the late-nineteenth century to the present day. From offering an insight into the largely unseen processes of bronze casting in foundries, to charting the journey of monuments from foundry to public siting, photography has been used to document the lives of sculptures in their circulation across the globe. The archiving function of photography now also provides a record of what no longer survives, as in the case of sculptures commissioned for temporary events, exhibitions or site-specific installations.Sculpture Photographedpresents photographs, posters and printed material alongside maquettes, medallic portraits and objects from installations. It reveals the varying ways that sculptors have harnessed photography in the production and dissemination of their works, while photography has in turn re-examined and provided new interpretations of sculptures, both old and new. This display is located in our new Archive Gallery (formerly known as the Lower Sculpture Study Gallery), which sits between Leeds Art Gallery and theHenry Moore Institute.

Sculpture and photography have existed in close proximity ever since the birth of photography in the early decades of the nineteenth century. Sculpture was one of the first subjects to be photographed, in part on account of its immobility which proved ideal for the long exposure times required for the early photographic processes and the suitability of white plaster and marble for a black and white medium. It has remained an important subject throughout photographic history, utilised by some of the most well-known photographers over the past 150 years, from William Henry Fox Talbot (1800-77) to Walker Evans (1903-75). Throughout this time photography has continued to influence the conception, process, documentation, marketing, display and reception of sculpture. Sculptors have not only collaborated with photographers but have themselves experimented with photographic techniques in the creation and documentation of artworks, including the use of cameraless photography, polaroids, collage and montage. This display explores the role played by photography across the history and practice of sculpture from the late-nineteenth century to the present day. From offering an insight into the largely unseen processes of bronze casting in foundries, to charting the journey of monuments from foundry to public siting, photography has been used to document the lives of sculptures in their circulation across the globe. The archiving function of photography now also provides a record of what no longer survives, as in the case of sculptures commissioned for temporary events, exhibitions or site-specific installations.Sculpture Photographedpresents photographs, posters and printed material alongside maquettes, medallic portraits and objects from installations. It reveals the varying ways that sculptors have harnessed photography in the production and dissemination of their works, while photography has in turn re-examined and provided new interpretations of sculptures, both old and new. This display is located in our new Archive Gallery (formerly known as the Lower Sculpture Study Gallery), which sits between Leeds Art Gallery and theHenry Moore Institute.

Sculpture and photography have existed in close proximity ever since the birth of photography in the early decades of the nineteenth century. Sculpture was one of the first subjects to be photographed, in part on account of its immobility which proved ideal for the long exposure times required for the early photographic processes and the suitability of white plaster and marble for a black and white medium. It has remained an important subject throughout photographic history, utilised by some of the most well-known photographers over the past 150 years, from William Henry Fox Talbot (1800-77) to Walker Evans (1903-75). Throughout this time photography has continued to influence the conception, process, documentation, marketing, display and reception of sculpture. Sculptors have not only collaborated with photographers but have themselves experimented with photographic techniques in the creation and documentation of artworks, including the use of cameraless photography, polaroids, collage and montage. This display explores the role played by photography across the history and practice of sculpture from the late-nineteenth century to the present day. From offering an insight into the largely unseen processes of bronze casting in foundries, to charting the journey of monuments from foundry to public siting, photography has been used to document the lives of sculptures in their circulation across the globe. The archiving function of photography now also provides a record of what no longer survives, as in the case of sculptures commissioned for temporary events, exhibitions or site-specific installations.Sculpture Photographedpresents photographs, posters and printed material alongside maquettes, medallic portraits and objects from installations. It reveals the varying ways that sculptors have harnessed photography in the production and dissemination of their works, while photography has in turn re-examined and provided new interpretations of sculptures, both old and new. This display is located in our new Archive Gallery (formerly known as the Lower Sculpture Study Gallery), which sits between Leeds Art Gallery and theHenry Moore Institute.