Graduate School Directory 2013/14 by CCW Research Events

Graduate School Directory 2013/14

ISBN 978-1-908339-06-5

9 781908 339065

CCW

Graduate School Directory 2013/14

Contents 5 An Informed Community of Practice 6 Themes 6 Environment 9 Technologies 11 Social Engagement 13 Identities 16 Visiting Scholars 17 Preface 18 John Sturgeon 20 David Leiwei Li 22 Jennifer Doyle 24 Partnerships 26 Hungarian University of Fine Arts, Doctoral School 27 Moving Image Review & Art Journal (MIRAJ) 29 MISTRA Future Fashion 30 SHARE 31 Royal Melbourne Institute of Technology (RMIT) 32 Victoria & Albert Museum 33 Tate 34 Cape Farewell 35 Tokyo WonderSite 36 MA Courses 37 Introduction to the MA Courses 38 MA Conservation 38 MA Collections and Archives 39 MA Digital Theatre 40 MA Drawing 40 MA Fine Art 41 MFA Fine Art 42 MA Graphic Design Communication 43 MA Interior & Spatial Design

43 44 45 45

MA Textile Design MA Theatre Design MA Visual Arts: Book Arts MA Visual Arts: Designer Maker 46 MA Visual Arts: Fine Art Digital 47 MA Visual Arts: Illustration 48 MA Visual Arts: Printmaking 48 MRes Arts Practice 50 How to Apply 51 Student Profile: Egidija Cˇiricaite· 52 Student Profile: Francesca Peschier 54 Research Degrees 55 Research Study at CCW: MPhil/PhD 56 Current Research Degree Supervisors 57 Registered Research Degree Students 57 Confirmed Research Degree Students 58 Completed Research Degree Students 59 Profile: Kate Goldsworthy 60 Profile: Katie Elliott 61 Profile: Joanne O’Hara 62 Profile: Marsha Bradfield 64 Professors 66 Paul Coldwell 68 Jane Collins 70 Neil Cummings 72 Rebecca Earley 74 Catherine Elwes 76 Stephen Farthing 78 Eileen Hogan 80 Nicholas Pickwoad 82 Kay Politowicz 84 Stephen A. R. Scrivener 86 Carol Tulloch

88 Chris Wainwright 90 Toshio Watanabe 92 Readers 94 Michael Asbury 96 David Cross 98 100 102 104 106 108 110 112 14 1 116 117 120 121 121 121 122

Mark Fairnington James Faure Walker Yuko Kikuchi Hayley Newman Michael Pavelka Malcolm Quinn Research Centres and Networks Transnational Art, Identity and Nation – TrAIN Ligatus The Centre for Drawing: Wimbledon Textile Environment Design (TED)

Bright Publications Bright Series Bright Light Bright Editorial Board PARADE: Public Modes of Assembly and Forms of Address 123 The Currency of Art 124 Relay: Circulating Ideas 125 The Good Drawing 126 Expedition

An Informed Community of Practice Professor Chris Wainwright Head of Camberwell, Chelsea and Wimbledon colleges and Pro Vice Chancellor, University of the Arts London

The CCW Graduate School reflects an academic vision that is predicated on profiling and celebrating the conditions and ethos that characterize these three specialist art colleges. Its rationale has been founded upon the reputations and strong traditions in all three colleges for well-established, high quality undergraduate and postgraduate provision, and mature research cultures that are equally comfortable and experienced in supporting practice-led and theoretical-based research in art and design disciplines. The Graduate School is the home of our research degree and taught postgraduate students, professors, readers and fellows, and an equally impressive group of full time, part time and visiting tutors and other research supervisors, as well as established research centres, and research networks. Central to the success of the Graduate School is the quality of its research provision, the calibre of staff and students, and the existence of real and sustainable partnerships and collaborative arrangements with external institutions, organizations and key individuals in the cultural sector and beyond. There are two key aspects of the Graduate School that continue to define its distinctiveness. The first is a commitment to create and maintain a direct relationship between research-focused activity and teaching, with a requirement that all research staff – our professors, readers and fellows in particular – play an active role in teaching and supervision, and that their research forms a crucial aspect of our student learning experience. The second is a commitment to providing a series of overarching thematic reference points

that form a catalyst for cross-disciplinary exchange, collaboration and discourse, and a means of responding to broader social and cultural agendas that transcend subject-specific concerns. We continue as in previous years to maintain a commitment to the four related areas of Environment, Technologies, Social Engage ment, and Identities as themes; and to reflect and amplify these through our Graduate School events programme, and at those points during the year when we will be bringing together our taught postgraduate and research degree com munities with our research staff and external partners in specific projects and activities. These two features of the Graduate School form the basis for our community of practice as well as a means of providing an opportunity for individual and group work that is informed by a rigorous critical framework that sets creative practice and enquiry in a broader social, cultural and economic context. It is our strong belief that the four key Graduate School themes of Environment, Technologies, Identities, and Social Engagement represent significant and continuing challenges to all our lives in a rapidly changing world, and that artists and designers have a critical role to play in shaping how we as human beings occupy our changing planet.

Themes

Environment Collaborations: Moving Image Artists and the Environment 1 Catherine Elwes

‘To be capable of transforming a forest into packaging for cheeseburgers, man must see the forest not as a display of the miracle of life, but as raw material, pure and simple.’ —Michael Zimmerman, 19772 Since at least the 1960s, it has been an ambition of moving image artists to harness the techno logies of film, video and digital media in a quest to reinvest images of landscape with their mythical, associative and poetic meanings. This constitutes a deliberate strategy to displace our ingrained tendencies to aggressively ‘enframe’ landscape, and to resist what the philosopher Martin Heidegger characterized as the drive to ‘challenge forth’ nature’s use value for profit.3 The exploitation of the environment depends on humanity’s ability to see itself as separate from nature and the filmmaker Chris Welsby speaks for many when he asserts, ‘it has been my project to suggest a more collaborative relationship with nature’. He adds perceptively, ‘if this requires that I surrender some creative control then so be it; the cost of control is greater than the loss of 1

This short essay is a product of an ongoing investiga tion into the theme of Landscape and the Moving Image, the title of a forthcoming book by Elwes for Wallflower/Columbia University Press. The book is itself a development of research carried out from 2008–10, within the Figuring Landscapes project, a touring programme of 55 films and videos across the UK, Ireland and Australia. Elwes consolidated many of the project’s findings in her 2013 chapter ‘Figuring Landscapes in Australian Artists’ Film & Video’. In: (eds) Rayner, J. and Harper, G., Cinema and Landscape, Cambridge: Cambridge Scholars Publishing. Zimmerman, M. (1977), ‘Beyond Humanism: Heidegger’s understanding of technology’, Listening, vol.12, no.3, p.79. For an excellent exposition of Heidegger’s theories of technology in relation to the environment, see Waddington, D. (2005) ‘A Field Guide to Heidegger: Understanding “The Question Concerning Technology”’, Educational Philosophy and Theory, vol.37, no.4. Available online: file:///G:/MUM/Articles/ Waddington%20on%20Heidegger%20concerning% 20Technology.htm. [Accessed 12 May 2013].

letting it go.’4 In contrast to more didactic works in which the iniquities of environmental destruction are articulated at the level of content,5 Welsby, along with a number of other artists, including William Raban and more recently, Emily Richardson, Susan Collins, Inge Lisa Hansen and Daniel Crooks, enact a literal collaboration with nature. They devise sys tematic interactions between technology and the elements that together determine the outcome of the work. Owing much to the branch of cybernetics that identified feedback mechanisms in both man-made and natural systems (a worldview popularized in the 1970s by thinkers such as Gregory Bateson),6 Chris Welsby’s practice meshes humanity, technology and nature in a dynamic, indivisible, chiastic loop. In Weather Vane (1972), he rigged up a camera with a small sail and mounted it on a tripod. He set it up on Hampstead Heath on a blustery day and the resulting image was determined by the ways in which the wind was blowing across the duration of the filming. Weather Vane was followed by a series of works made in collaboration with tides, rain, sun and in Seven Days (1974), the rotation of the earth.7 The capacity of film to compress time by the widely used time-lapse technique enables artists to not only devise systems that respond directly 4

Chris Welsby in conversation with Catherine Elwes (2013), ‘Moving Image Review & Art Journal (MIRAJ)’ vol.2, no.2, forthcoming.

These might include: Esther Johnson or Mike Latto on coastal erosion; Sandra Landholt on the littering of the Australian outback with obsolete machines; or the Cape Farewell Project on the threat of climate change to the environment of the Arctic.

See Bateson, G (1972), Steps to an Ecology of Mind, Chicago: University of Chicago Press.

In all these works, Welsby has applied an ecological principle to his practice, as he confirms, ‘I always try to film in such way as to leave, to use the current jargon, a small footprint. All that I left by the stream [in the making of Stream Line (1976)] were two metal pins that were driven into the rock to hold the tracking machine in place.’ Chris Welsby in conversation with Catherine Elwes, ibid.

Themes 7

Themes

to prevailing weather conditions, but can also reveal the hidden rhythms of nature. Emily Richardson’s magical time-lapse portraits of forests and Inge Lise Hansen’s studies of Nordic seashores reveal the breath of nature and, as Richardson says of her films, they succeed ‘in capturing imperceptible events’ in the land scape.8 Where Welsby works on diurnal cycles, and Richardson with annual time spans, Semiconductor taps into geological time and the slow-drip transformations performed by nature over the centuries. In All the Time in the World (2005), data gathered from the British Geological Survey in Edinburgh was rendered as sound and used ‘to sculpt and bring to life the shifting geography’ of the Northumbrian countryside as it evolved across the millennia.9 Although these environmental reincarnations of systems art might seem dryly procedural in their pseudoscientific prioritization of methodology, the resulting films operate within a dual register that both espouses a philosophy of interdepen dence and collaboration between man, machine and nature, and also unleashes an appeal to aesthetic sensibility. Welsby’s Seven Days is a brooding evocation of mortality featuring the inexorable march of shadow overtaking light as the earth turns on its axis; Richardson’s Aspect (2004) rejoices in the vertiginous abstractions made by indexical traces on celluloid arising from the compression of a year in the life of a forest into a few minutes; and at the same time, the allure of pictorial magic conjures the allegories of nature that form the enduring mythologies of our wild English woodlands. Beyond their conceptual structures, these works appeal directly to our emotional intelligence, to our senses; and cultivate an aesthetic sensibility that can indeed resist the avaricious consump tion of the environment and foster a genuine appreciation of Zimmerman’s ‘miracle of life’. 8

Richardson, E. (2010) Figuring Landscapes, London: Catherine Elwes / University of the Arts London, p.80.

Semiconductor (2010), Figuring Landscapes, ibid. p.82.

It might well be that our very survival depends on the persistent refinement of this appreciation of nature. As Chris Welsby has commented, ‘nature is not at risk, only we humans are at risk and we may take a lot of the biological life on this planet with us when we go. Nature will survive; the big question is: will we humans survive?’10

Chris Welsby in conversation with Catherine Elwes, op.cit.

Themes

Technologies Flat screens look like sheets of paper Athanasios Velios

deductions in their subject areas and then pub lishing more text for others to consume. Today, these problems have not been eliminated and publishing text is still considered the most valid In many fields in the humanities, the computer form of sharing academic work. I am a trained conservator and conserva has replaced a piece of paper. Instead of tion is one of those fields in the humanities writing on a physical sheet of paper, researchers where, until recently, conservators would hardly started using a digital sheet on their favourite word processor. Reducing a powerful machine to use a computer for anything other than writing their conservation reports. But conservation a piece of paper was a chance lost. When the Internet arrived, this text went online. The Inter is a special case within the humanities because net replaced the university library bookshelf. of one of its tasks: documentation. Conservators must document objects by extracting the his Instead of walking down to the university library torical information locked in their structure and and browsing the catalogue, researchers materials. This is essential for establishing started using Internet search engines to retrieve authenticity and provenance, and conservators and read their text immediately. Reducing the Internet to an automated bookshelf was another consider it of critical importance. A similar attitude is followed by other humanities profes chance lost. Researchers quickly discovered sionals working in historical research (e.g. that the time they saved with fast keyword archaeologists, palaeographers or art historians), searching was then wasted in reading irrelevant often focusing more on the appearance of results that their favourite search engine returned. They also realized that the information objects. This requirement of good record-keeping led these fields in the humanities to question available online was too much for them to process using their traditional research methods, the culture of free-text and to test alternative methods of sharing research results. i.e. by consuming text, making reasonable

Visualizations of The Language of Bindings Thesaurus, Athanasios Velios (www.ligatus.org.uk/lob)

Themes

These new methods intend to make research data searchable through structured indices and relationships between concepts. In this revised approach, a record of a component of a museum object online gets a unique reference, a unique identifier. This solves the frequent problem whereby two researchers are using different words to talk about the same component – with this approach, they both now share one reference for it. Ideas and information relevant to this component are also recipients of unique identifiers and are subsequently linked to it according to rules. For example, the unique reference of a painting links to a unique reference of the artist with a relationship of ‘created by’; as opposed to a different relation ship of ‘purchased by’, which the painting would have with its owner, etc. In computer science, any collection of these relationships is called an ontology. And the important thing here is that these relationships can be available as search criteria. Researchers are able to search in ways that interrogate concepts through their rela tionships and searching can be as specific as the research question requires. In Ligatus, a research centre that speciali zes in conservation documentation with particu lar interest in rare books, we have been working on methodologies for developing such rela tionships for concepts in libraries and archives. We have analysed the structure and typology of bookbindings from historic libraries and are proposing the relationships of the relevant concepts. We are unlocking the huge wealth of information in archives and are testing the value of concept relationships in art historical research. Our research students experiment in the fields of knowledge organization and struc tured data visualization in libraries and archives. We are doing all this by moving away from freetext and by making our data available online openly. This work benefits cultural heritage studies by offering ontological frameworks for publishing data from libraries and archives, thus extending and improving searches in these domains, so that new conclusions and arguments about our cultural heritage can be supported.

Themes

Social Engagement Intersecting Contemporary Fine Art Practice and Critical Art Pedagogy Katrine Hjelde

In 2013, I received AHRC Cultural Engagement postdoctoral funding to explore how the pedagogic experiences and competencies of the art school can be shared and exchanged with partner institutions, like galleries, who also explore their role as agents with a responsibility to their larger social environment. This AHRC project, Intersecting Contemporary Fine Art Practice and Critical Art Pedagogy, was specifically designed to develop related postdoctoral expertise in pedagogical research in art and design at CCW by further developing an emerging relationship with ‘The Showroom’, a publicly funded art gallery. The Showroom commissions work that is generated through open and discursive means between artists, specialists and public and local stakeholders, connecting otherwise disparate fields and communities. The project connects with The Showroom’s Communal Knowledge

programme, which specifically involves collabo rative projects with local and international artists and designers who employ different forms of action and critical reflection towards building an accumulative shared body of knowledge. Work on this project followed my previous work with the FLΔG collective, which myself and Michaela Ross, also a recent doctoral graduate from CCW, founded in 2010 together with a group of BA students. FLΔG was set up to explore and apply the notion of the ‘educational turn’ within fine art practice in relation to the teaching of fine art. CCW researchers, such as Neil Cummings and Malcolm Quinn, have all participated in FLΔG’s projects. The AHRC Cultural Engagement funding enabled the FLΔG project to develop, and for these researchers’ expertise in the intersection between contempo rary art and pedagogy to be further shared. Outcomes from the AHRC funded project include FLΔG’s contribution to the research exhibition in the Triangle Space Gallery at Chelsea College of Art and Design (Recalculating, April 2013); contribution to Silent University’s Communal Knowledge event at The Showroom

FLΔG – Quiet Cake-Conversation, Alternative Platforms for Learning. Photo: FLΔG

Themes

Gallery; an all day series of workshops for CCW’s BA Stage 1 Fine Art OFFSITE week at Wilson Road in May; a Spaces of Equality event in June at The Showroom; and further meetings and activities at The Showroom and Chelsea will follow. These events are in the process of being summarized and expanded in a publica tion, which will enable dissemination of the outcomes of this project beyond UAL and The Showroom’s audiences. Further afield, the project enabled members of FLΔG to go to Bergen, Norway to take part in the symposium Interrogating Systems of Persuasions, a seminar I co-organized with Anne Szefer Karlsen, the director of Hordaland Art Centre. Both the collaboration with The Showroom and Hordaland Art Centre can be seen as a testing ground for relational models of inter action, and social engagement between aca demia and its professional worlds, all of which could be transferable to other research contexts and collaborations. Social engagement is foundational for the art school institution of the 21st century in order to be relevant to society on a broader scale. The aim is to develop students as ‘creative citizens’ with an education and experience that is formed through the social context of the art school in dialogue with other institutions including (but not limited to) museums and galleries. Pedagogy is itself a form of socially engaged practice, and it is pedagogy as a broader exploration of the relational experiences occurring between artist, academics, researchers, students and wider society that is considered in this project. This project also links up the research of CCW Graduate School researchers to that of BA Fine Art students at Camberwell, Chelsea and Wimbledon. In this respect, the social engagement includes the way different partners within the institution work across disciplines and levels, sharing experience and knowledge, and implementing recent research towards a permeable relationship between making, doing and knowing on all levels.

FLΔG – Quiet Cake-Conversation, Alternative Platforms for Learning. Photo: FLΔG

Themes

Identities Politics, Race and Religion in Brazil: reality imitating art? Michael Asbury

I was shocked, if not entirely surprised, to hear that domestic workers in Brazil have only gained the right to hourly pay in April this year.1 Traditionally a live-in occupation, these workers are often ‘housed’ in cramped servant quarters, located behind the service area, which to this day are still incorporated within the floor plans of even the most modest apartments. Having previously been paid on a monthly basis, usually the minimum salary, they have hitherto been denied the right to overtime and the possibility of organizing family contact, leisure and so forth. Clearly a progressive – albeit very late – legislative move towards the eradication of the vestiges of slavery, the law was nevertheless widely con sidered as an affront to the Brazilian middle class way of life. The surprise that one might feel towards such a reaction to the new legisla tion fades however in light of another event that took place this year, namely, the appointment of Minister Marcos Feliciano as chair of Brazil’s House of Representatives’ Human Rights and Minorities Commission. The appointment was highly controversial, leading to mass protests and manifestations, given that Minister Feliciano happens to be an evangelical pastor whose views on minorities are grotesque to say the least. Describing hunger, disease and war in Africa as a consequence of Noah’s curse on Canaan, and HIV-Aids as a gay cancer, he has defended his ‘impartiality’ towards minorities by claiming that: ‘I don’t place different groups in the same heap; for example, to be gay is a choice whilst to be black is just bad luck.’ The appointment of such an openly racist, misogynistic and homophobic chair of the human rights committee beggars belief, but the

very absurdity of the fact brings to light how deeply rooted discrimination is concealed in Brazil by the myth of a racial democracy. In fact, the ideal of racial democracy is at the very root of such a problematic conjunction of politics, race and religion, since the premise has its origin in the foundations of the Brazilian Republic. It would seem pointless to seek to under stand the logic of a racist (or any other form of prejudice), but the fact that Feliciano’s mother happens to be black and that this does not seem to interfere with his discourse can perhaps be analysed through an art historical reference. Let us consider a painting from the late 19th century by the celebrated academic artist Modesto Brocos’s, entitled the Redemption of Canaan (1895). Like Feliciano, the painter associates the curse of Canaan with the black ness of skin.2 Brocos’ painting depicts a black grandmother, thanking God for her white grandchild. Her mixed-race daughter holds the baby whilst her white son-in-law looks on at the scene with an air of pride which might simply stem from fatherhood but perhaps, more accurately in line with the painting’s ‘message’, could be invoked by the satisfaction brought on by the acknowledgement of being the carrier of the redemptive blood that would cleanse the nation of its dark, or quite literally black, past. Given the date of the painting (1895), it is fair to assume that the grandmother would have only recently been freed from slavery (abolished in 1888). The presence of the father, the poor European migrant rural worker, is significant in associating the nation’s redemption with the policy of whitening the population through miscegenation. This had been one of the key debates of the time, connecting the abolitionist movement with both the foundation of the Republic and the political struggle exercised by the oligarchic land-owning families in order to 2

The news was whispered into my ear while listening to Dr Rafael Cardoso’s lecture on ‘The problem of race in 19th century Brazilian Painting’ at the Courtauld Institute (30 April 2013). I thank Isobel Whitelegg for the interruption which led me to write this short text.

Genesis 9:25 describes the curse on Canaan as that of being condemned to be the ‘servant of servants’, leading to the original assumption that the passage justified the subjection of the Canaanites to the Israelites. Later interpretations, with the intention of justifying slavery, have identified the curse with the blackness of skin.

Themes

Redenção de Cã, Modesto Brocos, 1895, (Santiago de Compostela, Espanha 1852 – Rio de Janeiro, RJ 1936), oil on canvas, 199 × 166 cm, Museu Nacional de Belas Artes/IBRAM/MinC. Photo: Cesar Barreto

Themes

maintain their power base throughout the politi cal and economic transition from the monarchy to the Republic (declaired in 1889) and from slave to paid labour. Within this politico-economic shift, abolitionism in Brazil did not necessarily dis entangle the ideology of ‘reconciliation’ of Christian belief with racism that had served to justify slavery. Instead, it drew on late 19th century pseudoscientific notions of eugenics, devised in Britain by Francis Galton who ‘adapted’ the theories of his cousin Charles Darwin in order to associate physiological (and by extension ethnic) traits with personality characteristics. The eugenic discourse served the abolitionists as a means of associating the introduction of waged labour as a modernizing substitution of slavery. This particular form of modernization became interesting to the land-owning oligarchic elite who eventually saw economic as well as political benefits in the transition, guaranteeing their position of power within the newly established Republic. Like the national flag that proclaims to this day its positivist mantra of ‘order and progress’, the vestiges of the whitening policy survive in an equally blatent and oblivious manner. It is not surprising, therefore, that Feliciano’s rhetoric of redemption through Christ is paralleled by a keen interest in his own appearence which, as he readily admits, has been achieved by painstakingly applying cosmetic means to rid himself of any vestiges of his African descent. But what has this got to do with contemporary art? Well, as the international art scene celebrates everything Brazilian, one is left to wonder why so few Brazilian artists are of African descent.

Visiting Scholars

Preface

CCW hosts a vibrant community of visiting scholars and artists, including the US–UK Fulbright Commission Visiting Distinguished Chair and Scholar, the Gasworks Visiting Artist and the Tokyo WonderSite Artist Exchange. The research carried out by our community of external colleagues is an important part of our outward-looking programme of activities and feeds into our events, exploring the key themes and issues focused on by Graduate School researchers. Alongside their contribution, we are also proud to have a distinguished group of CCW Visiting Professors and Fellows who help to enhance and develop our key subject areas. Recent Visiting Professors and Fellows include: • • • • • • •

Professor Rosi Braidotti Guy Brett David Buckland Mark Davy Catherine Lampert Professor Deborah Nadoolman Landis ULTZ

Visiting Scholars

John Sturgeon US-UK Fulbright University of the Arts London Scholar 2012–13

a new urban ecology. Evaluation of the rather extensive volume of recordings in preparation for post-production is the current phase of my investigation. From September 2012 to March of 2013, Coming to London in the wake of the Professor John Sturgeon served as Fulbright 2012 Olympics offered openness – even a sense Scholar in residence at the University of the of buoyancy – to the city that imbued many of Arts London (UAL), centered at CCW Graduate my production as well as social experiences. School. Professor Sturgeon works in the The graciousness and inclusiveness of my hosts Cinematic Arts faculty, in the Department of at UAL, CCW Graduate School was unparalleled Visual Arts, University of Maryland, Baltimore and the degree of professionalism and sense County. As a digital media artist-poet, of dedication to the arts throughout the UAL Sturgeon has been practising in video, installa community was inspirational. Here I found tion, performance and interactive forms, a welcoming and stimulating community of with interests in tele-performative and streaming artists, scholars and teachers with enthusiasm media collaborations for over four decades for a shared vision of global artistic community. (www.johnsturgeon.net). Professor Sturgeon here The degree to which I was included in cultural reflects on the experiences of his residency: and social events or tipped off to city locales and situations to investigate for production pro I proposed for London the production moted a sense of inclusion and stimulated the of a new video, Sacrifice of Options/Body of rapidity with which I felt … dare I say, somewhat Empathy, combining my passions for spiritual of a Londoner. My research benefited immensely connectedness through sense of place, the root processes of the ‘archive’ and the develop from this giving spirit and I am truly grateful. ment of alternative representation/perception I plan to pursue opportunities for future collabo ration artistically as well as academically, with a strategies. Specifically, I was interested in potential programme exchange between UAL/ exploring modern rituals born in the complex CCW and my home university. multi-layered urban environment of London that also have percolated up from the city’s long history as a metropolis, even its ancient roots. Early on in my research, I began to focus in part on the way that Londoners ‘ritually’ use the multi farious array of electronic and digital communi cations media to connect but also protect by simultaneously disengaging from the intensity of modern urban life. For example, the ubi quitous ‘smart’ technologies immediately pulled out on the Tube, or in any public space, signal unavailability and affirm disconnectedness, yet concurrently offer unprecedented virtual connectivity and the potential of global com munity. I found that almost everything my camera recorded in public space, even uninten tionally, documented Londoner’s remarkable embrace and embodiment of this communal dynamic. These virtual navigational strategies are changing the landscape of discourse in our modern society with the ad hoc creation of

My Mother's House, John Sturgeon, digital collage, 2010

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Visiting Scholars

David Leiwei Li US-UK Fulbright University of the Arts London Distinguished Chair 2012–13

David Leiwei Li is Professor of English and the Collins Professor of the Humanities at the Uni versity of Oregon. He is the author of Imagining the Nation: Asian American Literature and Cultural Consent (Stanford UP, 1998), the editor of Globalization & the Humanities (HK UP, 2004) and Asian American Literature, a 4-volume 2240 page collection of criticism (Routledge, 2012). Between January and June 2013, Professor Li served as the US-UK Fulbright Distinguished Chair at the University of the Arts London (UAL) in residence at the Research Centre for Trans national Art, Identity and Nation (TrAIN) at the CCW Graduate School. The Fulbright Distin guished Chair Award is the most prestigious award in the Fulbright Programme, which aims to promote peace and cultural understanding through educational exchange. Professor Li’s reminiscences of his residency follow. In relieving me from regular teaching responsibilities, the Fulbright award at CCW Graduate School and the Centre for Trans national Art, Identity & Nation (TrAIN) has provided me with unsurpassed support in the pursuit of my research project, Globalization on Speed: Economy, Emotion, and Ethics in Contemporary Chinese Cinema and enabled me to make steady progress towards the book manuscript’s completion. For someone whose professional training has primarily been literary, I have also benefited immeasurably from the formal talks and informal con versations I have had with colleagues at CCW, TrAIN, and other UAL colleges, both learning the particularities of art history and curatorial practices from in-house experts of extraordinary talents, and making inter disciplinary linkages between contemporary artistic and humanistic inquiries. In addition, the administrative staff at CCW and TrAIN have impressed me with their warmth and efficiency, and have made both my stay comfortable and my work productive.

Besides sharing my project in progress in my inaugural lecture at Camberwell College of Arts, I have also participated through the collaboration between TrAIN and the research hub at the London College of Fashion in wider discussions on media representation of ethnic minorities in Europe and North America. The central location of London in Western Europe has moreover made it an ideal launch pad for me to engage scholars and students outside the UK, by lecturing in various universities in Italy and Germany, further enhancing transnational intellectual dialogue and apprehending the challenges of higher education and cultural pro duction in the era of globalization. This half-year research residency at CCW and TrAIN has proved to be the most memorable and meaningful in my not-so-short career of being a teacher and scholar, thanks to the joint effort of Fulbright and UAL, and I trust that the programme shall continue to thrive in its incomparable vigour and vitality.

Visiting Scholars

‘A shot of Churchill in Parliament Square, of what I shall entitle, “The British Gothic”’. David Leiwei Li

Visiting Scholars

Jennifer Doyle Fulbright University of the Arts London Distinguished Chair 2013–14

Jennifer Doyle is Professor of English at the University of California. During her time with the University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) in the CCW Graduate School, Professor Jennifer Doyle will be developing the project The Athletic Turn: Contemporary Art and the Sport Spectacle. The Athletic Turn

Contemporary artists offer an important alternative to mass sports media: artists have produced some of the most stringent available critiques of the mass sport spectacle. They have also investigated the social value of quieter, less visible aspects of sports culture. Nevertheless, art and sport are traditionally assumed to be antagonists. Curators and art historians recount the history of representations of the athlete, for example, or explore the way that engagements with sports culture expand art's audiences but tend to position the artist as an outsider to the sports world. Artists, however, are already a part of sports culture – as athletes, fans, league organi zers and critics. Where previously a handful of scholars have worked to highlight the aesthetic components of athletic performance – importing the language of art history to declare that there is art within sport – I will spend my time as a Fulbright scholar expanding our sense of the sports world to include experimental cinema, sculpture and installation work, contemporary photography and performance art. In other words, I treat artworks as dynamic engagements with and critical readings of sports culture, and argue that this kind of artwork should be understood as indeed a part of ‘the sports world’. So much of international sports culture appears to us as a celebration of nationalisms. The artists with whom I work show us that globalization registers within sports cultures in complex ways. The artists who anchor this book

are engaged with sports communities on the margins of national and global sports economies. Their work helps us to see what those global systems attempt to capture, and also what eludes their grasp. The Athletic Turn centers on con temporary art developed at the margins of main stream sports culture – work that is harder to assimilate to commercial enterprise not because the work is experimental or avant-garde but because (like many fans) the work is intensely wary of sports organizations and is often explicit in its critique of them. The intellectual context of the University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) will provide the perfect home for developing this project.

Visiting Scholars

The Speed of Dreams, Tracey Rose, 2009

Partnerships

Hungarian University of Fine Arts, Doctoral School

Since 2009, CCW Graduate School has been collaborating with the Doctoral School of the Hungarian University of Fine Arts, Budapest. Since the early 1990s, a vigorous international discourse has been underway about the purpose and nature of artistic research. Whilst the scope of artistic research is international, many countries have yet to establish doctoral programmes, though in others their inception predates the 1990s. Thus, approaches to and experience of doctoral education in art vary markedly between one country and another. This partnership with our Hungarian colleagues provides a means for staff and students to explore the affordances and limitations latent

in the national and institutional regulatory frameworks within which artistic research has to be undertaken, whilst appreciating that artistic research is a common endeavour that is not bound by them. The partnership has been sustained by a series of workshops and visits by UK staff and students to Hungary, and vice versa, each of which addressed a topic of interest to both doctoral programmes. To date there have been three workshops, followed by two exhibitions, the most recent of which was titled Recalculating, held in the Triangle Space, Chelsea College of Art and Design, 24â&#x20AC;&#x201C;27 April 2013. An archive of material relating to the partnership and its outcomes can be found at http://thamesdanube. blogspot.co.uk/

Photos: Szabolcs SĂźli-Zakar

Partnerships

Moving Image Review & Art Journal (MIRAJ)

Founded by Professor Catherine Elwes in 2012, the Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed journal dedicated exclusively to artists’ moving image practices. Published by Intellect Books, MIRAJ boasts an editorial team that combines estab lished academics such as Sean Cubitt, Rachel O. Moore and Janine Marchessault with rising talents including Erika Balsom, Eu Jin Chua and Colin Perry. The advisory board is made up of leading academics from across the globe, for example, Laura Mulvey, Thomas Elsaesser, Catherine Russell and David E. James. All are united in a commitment to expand ing the discursive field around a discipline that, in recent years, has shifted its position from a marginal and profoundly counter-cultural prac tice born of the iconoclasm of the 1960s and 1970s to the default medium of the 21st century. The moving image has made significant incur sions into all areas of life in the industrialized world. The contemporary Western imagination is now in constant dialogue with the moving image – internalized, memorialized, and experienced

directly on a daily basis. MIRAJ is committed to mapping, debating and theorizing the extra ordinary growth of the moving image in art that has taken place since the late 1990s. The field of artists’ film, video and digital media straddles different disciplinary territories. It shifts between scholarship and practice in the fine art tradition, and the culture of mainstream film and media. Discernible trends in recent artists’ practice have drawn in scholars from other disciplines. Anthropologists have become interested in artists’ use of filmic techniques derived from ethnographic documentary. A new concern with issues of place, landscape, and the local has drawn in geographers and historians. Meanwhile, some of the best commentary on artists' film and video, including on-the-ground knowledge of current practice, has come from outside the academy, that is, from independent art critics, curators, and artists themselves. It is the aim of MIRAJ to bring together these different voices so as to encourage exchange of specialist knowledge and develop a more rounded crossdisciplinary field. The fundamental aim of MIRAJ is to reignite debates around the nature of the moving,

Partnerships

projected, and screen image in all its forms – celluloid, videotape, and digital – but especially in relation to the fine art context. The journal is made up of scholarly articles, feature articles, review articles and polemical essays as well as round-table debates and interviews with key individual practitioners. MIRAJ addresses a broad readership that includes an interested public, students, artists, curators as well as scholars. It prides itself on its ability to communicate to a range of readers without compromising intellectual rigour and scholarship.

MIRAJ was supported by an initial grant from the Kraszna Krausz Foundation and an AHRC International Network Award between 2010–12.

http://www.intellectbooks.co.uk/journals/viewJournal,id=207

Editorial Board: Rachel O. Moore, Goldsmiths, University of London, UK Janine Marchessault, York University, Canada

Founding Editor: Catherine Elwes, CCW Graduate School, UAL, UK Associate Editors: Sean Cubitt, Goldsmiths, University of London, UK Eu Jin Chua, Unitec, New Zealand Reviews Editor: Colin Perry, Central Saint Martins, UAL, UK Features Editors: Erika Balsom, King’s College, London, UK Lucy Reynolds, Central Saint Martins, UAL, UK Editorial Assistant: Kate Pelling, CCW Graduate School, UAL, UK

International Advisory Board: Mark Bartlett, Open University, UK Pryle Behrman, Writtle School of Design, University of Essex, UK Suzanne Buchan, University of the Creative Arts, UK Ian Christie, Birkbeck, University of London, UK Stuart Comer, Tate Modern, UK Maeve Connolly, Dun Laoghaire Institute of Art, Design and Technology, Ireland David Curtis, Central Saint Martins, UAL, UK T.J. Demos, University College, London, UK Thomas Elsaesser, University of Amsterdam, Netherlands Catherine Fowler, University of Otago, New Zealand Stan Frankland, University of St. Andrews, Scotland Amrit Gangar, National Museum of Indian Cinema, Mumbai David E. James, University of Southern California, USA Laura Mulvey, Birkbeck College, London, UK Mark Nash, Royal College of Art, London Michele Pierson, King’s College, London, UK Pratap Rughani, London College of Communications, UAL, UK Catherine Russell, Concordia University, Canada Tom Sherman, Syracuse University, USA Lisa Steele, University of Toronto, Canada

Partnerships

MISTRA Future Fashion

Clara Vuletich is the funded PhD researcher attached to this project, and her MISTRA Future Fashion (MFF) is a research research, entitled ‘Using human-centred programme funded by the Swedish Govern sustainable design strategies to reconfigure ment’s Foundation for Strategic Environmental waste as an asset in the fashion textile Research. Its aim is to bring about significant supply chain’ looks at the role of the designer change in the fashion industry leading to in the supply chain. sustainable development within the industry The design of a course for Masters students and throughout wider society. from across the art and design disciplines The scale of the project marks it as one of called Manifesto for Innovation, which takes the most comprehensive studies of the market sustainable design thinking for textiles and and business models within the fashion industry. fashion further into personal and social action, Changes to key stages in the lifecycle of a pro has led to engaging workshops and lecture duct – changes in the supply chain, to the design programmes with students at UAL and in Swedish of clothing, the materials used, consumer design schools. With a Guest Professorship behaviour, and the influence exerted by govern at Konstfack in Stockholm, Kay Politowicz and ment are the subject of multidisciplinary Becky Earley ran the course with an inter focus. The consortium structure integrates eight disciplinary group in Spring 2013, and have started a conversation about how to extend this cross-disciplinary research projects, including natural, social and political sciences and design, further to other Swedish schools. The project’s platform, www.textiletoolbox. creating a common research platform. TED com, builds the link to our internal and external (Textiles Environment Design research group at CCW) addresses the question: ‘How can sus partnerships within the project. The toolbox tainable design processes be created and will build a digital space for sustainable design embedded within companies and gain the parti inspiration, and also an interactive site for cipation of consumers?’ people to contribute to an online exhibition in The research is led by Professor Rebecca 2014, and to have access to online resources Earley and is designed to contribute to the exist developed by staff, PhD students and external ing body of knowledge by focusing on practical writers. The final web platform and report in changes that will influence the environment for 2015 will offer recommendations to the Swedish sustainable fashion. The title of the research is: design community for sustainable making ‘Interconnected design thinking and processes and action. for sustainable textiles and fashion.’ The team uses workshops as the metho dology for testing sophisticated training pro grammes in companies that can embed sustain able design thinking in the pursuit of creating a full range of sustainable design concepts. The programmes are both highly creative, encouraging new connected thinking that leads to sustainable design innovations, and which enable the company to evaluate the design think ing, finding ways to make use of innovative ideas quickly and economically. The team is working with large companies, such as H&M, and smaller companies through the Sustainable Fashion TED’s TEN card in Stockholm with TED/Mistra PhD student Clara Vuletich Academy (SFA) in Stockholm and Copenhagen.

Partnerships

SHARE Setting the Agenda in Europe for Research and Doctoral Programmes in the Arts

Since its inception in 2011, the CCW Graduate School has taken a leading role in the develop ment of SHARE (Step-change in Higher Arts Research and Education), an EU-funded research network that aims to develop radically pragmatic thinking in arts and design research at doctoral level and beyond: www.sharenetwork.eu On 24–25 May 2013, the final SHARE con ference presented a culmination of the network’s activity. The event considered the challenges, opportunities and critical issues faced in the building of new – and the further development of existing – programmes and platforms for 3rd cycle (doctoral) education and research for the creative arts. The final May conference developed ideas from other aspects of SHARE’s highly successful programme to date, such as the 2012 events led by UAL, during which the CCW Graduate School hosted the Second Annual SHARE Conference. Over two days of presentations, break-out groups,

SHARE#3 conference, Brussels, May 2013

workshops and discussions, the conference brought together 122 researchers, educators, doctoral students, senior administrators, deans and rectors from 27 countries across Europe to think through the practical and theoretical chal lenges in developing doctoral level education in creative art practices. As a University, we greatly benefit from this affiliation. Although many of the key concepts of practice-based research in the arts originated in the UK, we can now see how grass roots development combined with policy initiatives in continental Europe have combined to create a decisive shift in intensifying research orientation in arts Higher Education. The conference allowed us to witness a critical mass of new research-orientated plat forms that have emerged on the continent and how from Romania to Sweden a wide spectrum of cultures are creating rich and imaginative responses to the question of what constitutes meaningful research in the arts.

Partnerships

Royal Melbourne Institute of Technology (RMIT)

As a part of CCW‘s encouragement of inter national cooperative endeavours, the CCW Graduate School has for the past three years been working to construct a cross-disciplinary drawing network based in the intellectual and creative space that exists between Melbourne and London. The Network’s focus has been on developing a better understanding of drawing as a cross-disciplinary subject, then through that understanding, engaging with curriculum development directed towards improving the curriculum on offer in drawing classes followed by undergraduate students in the sciences and in UK secondary schools. The network is funded by an AHRC Network Grant awarded in 2011 to facilitate the development of a better understanding of the relationship between writing and drawing, and drawing and general literacy. The network is led by Stephen Farthing RA, The Rootstein Hopkins Professor of Drawing. In April 2012, the second Drawing Out conference was held in London, in collaboration with The National Gallery. Speakers included artists Michael Craig-Martin, Grayson Perry and Kelly Chorpening. In addition, Georg Gartner, President of the International Cartographic Association from the Institute of Geoinformation and Cartography at Vienna University of Technology, spoke on ‘Emotional mapping’; and Dr Janet McKenzie, Research Fellow at the University of Dundee, delivered a keynote speech on contemporary Australian drawing, ‘Drawing as discovery’. Images can be found at: http:// thecentrefordrawingual.wordpress.com. In addi tion to the general theme of literacy and drawing, the conference addressed the question, ‘What is a good drawing?’, and the discussions sur rounding this question were published in a CCW Graduate School Bright publication in September 2012 under the title The Good Drawing. In April 2013, the network met at RMIT in Melbourne as part of a long-term relationship, where they discussed the relationship between

writing and drawing. The themes were introduced by keynote speakers from CCW, including Professor Paul Coldwell and Kelly Chorpening. As an on-going relationship the network plans to centre its next meeting in Hong Kong, where they will discuss the impact of east/west writing conventions on reading pictorial symbols.

Draw Like You Talk: Make It Happen, part of the Drawing Out 2013 conference at RMIT, Melbourne

Partnerships

Victoria & Albert Museum

Qualitative interviewing, especially oral history, is becoming an increasingly significant research methodology in the histories and practices of art and design. In 2004, the oral history project Voices in the Visual Arts (VIVA) was launched to record interviews with Camberwell College of Arts alumni to provide a model and resource for researchers. VIVA hosts the Design History Society oral histories with key historians in the development of the subject. In 2009, in partnership with the Research Department at the Victoria & Albert Museum, Dr Linda Sandino initiated an oral history of curating at the museum, an institution which encompasses diverse areas of expertise across the arts and design. The interviews document key

shifts in the museum’s identity and function from the post-war period to its current incarna tion in the 21st century. Alongside the life histories of curators, the research has also begun to examine the specific impact of art schooleducated museum staff on the culture of the V&A, a subject that was also explored more widely at the Artists Work in Museums conference (V&A, October 2012), co-convened by Dr Sandino (CCW/V&A) and Matilda Pye (V&A) and in its accompanying publication (2013). Both projects provide the opportunity to examine how narrative functions to create, foster and sustain communities of practice, the ethics of the dialogic encounter and how subjectivities are deployed in cultural labour – but specifically in museums.

Design for an Alphabet; Letter I by Godfrey Sykes, 1864. © Victoria and Albert Museum

Partnerships

Tate

CCW Graduate School continues to strengthen and diversify its relationship with Tate Research. In 2011/12, CCW MRes Arts Practice students worked with Professor Nigel Llewellyn, Head of Research at Tate, his co-investigator Dr Victoria Walsh and their PhD students on the Tate ‘Art School Educated’ project, funded by the Lever hulme Trust, which explores the impact of art pedagogy on artistic production and advances the understanding of the role that art schools have played in relation to broader educational, cultural and social realms. This project has continued in 2012/13 with the MRes Arts Practice students working alongside Tate PhD researcher Alex Massouras. Dr Michael Asbury, Reader in the Theory and History of Art at CCW and Deputy Director of the TrAIN research centre at CCW has secured funds to work with Tate on an AHRC collabora tive doctoral award on the subject of Pop Art in Latin America.

Captain, Samson Kambalu, video still, 2012

The Journal of Artists’ Books, established in 1994 and published at the Columbia College Chicago Center for Book and Paper Arts, has asked Professor Eileen Hogan to write a 6000 word illustrated article which maps the develop ment of a research network between the Book Arts Collections at Chelsea and Tate, and the evolution and future of the AHRC-funded ‘Trans forming Artists’ Books’ project. CCW PhD student Samson Kambalu has been commissioned by the Tate to write weekly articles on Meschac Gaba’s Museum of Contem porary African Art for their website, when the nomadic museum goes on show between July and September.

Partnerships

Cape Farewell U-n-f-o-l-d Exhibition

Cape Farewell is an artist-led charitable arts organization based in London that pioneers a cultural response to climate change. It works internationally, bringing artists, scientists and communicators together to stimulate the production of art informed by first-hand expeditions to the frontline of climate change and by providing access to scientific research projects. Using creativity to innovate, it engages artists for their ability to evolve and amplify a creative language, communicating on a human scale the urgency of the global need to address climate challenge. The CCW Graduate School has been working in partnership with Cape Farewell for a number of years to ask the best of our combined creative minds to respond to the complex and pressing issues of climate change, and to build a vision for a sustainable future, and in so doing, promote the vital role that cultural practice, debate and dialogue plays in this process. The CCW Graduate School is committed to profiling climate change and environment as one of its key thematic interests, which is reflected annually in a common programme of talks, events and cross-disciplinary projects. One of our major projects has been an international touring exhibition, U-n-f-o-l-d,

400 parts per million. Group performance from environmentbased photography masterclass held in conjunction with U-n-f-o-l-d exhibition, Beijing, May 2013

jointly curated by Professor Chris Wainwright and David Buckland, Director of Cape Farewell (recently appointed as Visiting Fellow to UAL), which has been touring since 2009 to The Academy of Applied Arts, Vienna, Columbia College, Chicago, Parsons New York and many other venues. In May 2013, U-n-f-o-l-d travelled to The Central Academy of Fine Art Museum in Beijing as its final venue and became the first major international exhibition about climate change to be shown in China. The staging of the show came at a significant moment in time as we are asking questions about the role of artists and the responsibility that they and arts educators have in addressing the pressing and urgent issues of climate change and the future of our environ ment – as we seem as civilized societies to be creating a terrible legacy for future generations. Artists and arts institutions have always come up with inventive and engaging solutions to problems and we now need to turn their unique minds, skills and focus to the climate crisis. The appetite in China to engage with these issues seems to be growing. The exhibition included work by 23 artists including: Ackroyd and Harvey, David Buckland, Leslie Feist, Michèle Noach, Francesca Galeazzi, Ian McEwan, Lucy + Jorge Orta, Lemn Sissay, Shiro Takatani and Chris Wainwright.

U-n-f-o-l-d installation, CAFA Museum, Beijing, May 2013

Partnerships

Tokyo WonderSite

Tokyo WonderSite is an internationally focused contemporary arts centre in Tokyo, Japan that is dedicated to the generation and promotion of new art and culture from Japan. It also runs an extensive international exchange programme, workshops, artist residencies and exhibitions across three sites in the city. Their Creator-inResidence programme, run since 2006, provides a venue for creative practices and aims to foster international and intercultural dialogue. CCW has been working with Tokyo WonderSite for the last six years with over 36 Bachelor and Masters students from across CCW visiting Tokyo WonderSite to participate in masterclasses and workshops. Tokyo WonderSite and CCW now host artist residency exchanges that include our lecturers and technical staff from CCW. Recent CCW staff residencies in Tokyo include: Nelson Crespo and Tim Johnson (2012) Ed Webb-Ingall and Bernice Donszelmann (2013) Recent Japan artist residencies at CCW in London include: Ichiro Endo and Hiroshi Ashikaga (2012) Tsuyoshi Ozawa and Takashi Kuribayashi (2013)

Go for future, Ichiro Endo, installation, performance, Chelsea College of Art and Design, 2012

Recording Programmes of Instruction for Repeated Playback (work in progress), Ed Webb-Ingall, 2013

MA Courses

Introduction to the MA Courses

The taught postgraduate courses in CCW form an important aspect of the Graduate School. They are located and delivered across all three colleges and represent the core disciplines of CCW. The Graduate School programme of lectures and events has been developed in close cooperation with MA Course Leaders and aims to bring the value of our research communities directly to bear on the experience of all of our MA students. Additionally, since the development of the Graduate School, there are now increased oppor tunities to establish cross-course links based around the four key thematic concerns of Envi ronment, Technologies, Social Engagement and Identities. Students from our taught post graduate courses are also encouraged to par ticipate in a wide range of dialogues and events along with research degree students, as well as benefiting directly from the experience and teaching contributions from our prominent professors, readers and research fellows.

MA Courses

MA Conservation Camberwell College of Arts

This two-year course builds on 40 years of experi ence at Camberwell and teaches you specialist skills and knowledge preparing you to work within specific fields of the conservation world. The course offers two distinct pathways in Art on Paper, and Books and Archival Materials.

focus on detailed conservation techniques; and you will finish the course, by working on a project with one of the many cultural institutions within London. You will benefit from our strong connections to the heritage community in London including The British Library, the Victoria & Albert Museum, The National Maritime Museum, London Museum, London Metropolitan Archives, The Wellcome Trust,Tate, Kew Gardens and many more.

What to expect

Facilities

The course consists of practical studio work where you are introduced to conservation ideas, ethics and techniques. The course covers the science of materials and how they react under different conditions, providing you with an understanding of conservation treatments and a background to preservation management. You will cover visual examination and condition documentation, mechanical surface cleaning, humidification and washing, deacidification and resizing. Both pathways share classes on preventive conservation, including risk analysis, environmental parameters, surveys, storage solutions, exhibition preparation, disaster management, digitization issues and interna tional activities. You have the opportunity to make site visits to a range of cultural institutions.

Students have access to Camberwell’s specialist conservation studios and conservation science laboratory. In addition, Conservation students will be able to use all the College’s technical workshops, including the Photography, Print making, Letterpress, 3D, and Digital Media Resource Centres, as well as the College library.

Introduction

The Art on Paper pathway includes specialist classes on fixatives and consolidants, pressuresensitive tape removal, sensitive media, parch ment, iron gall inks, and an introduction to photographic conservation. The Books and Archival Materials pathway covers the broad international and historical spectrum of bookbinding and book structures. Emphasis is put on acquiring an understanding of bookbinding history. We have a close relationship with Ligatus, a research branch of the University, which specializes in building up detailed knowledge of the history of book structures. You will learn an array of book conservation solutions and techniques. In the second year of the course, both pathways

Course Leader

Jocelyn Cuming has extensive experience as a book and preventive conservator. Prior to work ing at Camberwell she has worked first in Rome and then in New Zealand as a private book conservator and set up the National Preservation Office in New Zealand. She has worked within New Zealand the Pacific and Asia. Recently she has been involved in some survey work for the Islamic Museum of Art, Qatar. MA Curating and Collections Chelsea College of Art and Design (subject to validation) Introduction

MA Curating and Collections focuses on the development of skills needed to curate a range of art and design objects within the context of public and private collections. Working along side the established curatorial team at Chelsea Space, you will handle the historic Special Collections at Chelsea College to explore current debates and practices in curating.

MA Courses

What to expect

Course team

Practical skills will sit alongside critical reflec tion to help develop a balanced approach to curatorial methods. Attention will be given to: exhibition design; concept development; marketing; press releases; and budgeting. The course will also address current critical debates, keeping students up to date on issues such as participation, the artist-curator and thinking about the public realm.

David Dibosa’s research interests focus on issues of spectatorship in relation to contemporary visual culture. He is currently a Co-investigator for Tate Encounters, looking at migration and national identity in relation to the display of British art.

Although the course will especially help those who want to further their experience of working with contemporary and historic collections, the practical-critical balance will strengthen the development of many different curatorial approaches. A key element of the course is the studio workshop within Chelsea Space, a renowned, experimental, public exhibition space on the campus. The curatorial team at Chelsea Space will provide training within an active and supportive curatorial environment so that students engage with the best examples of contemporary practice. Facilities

The course is delivered through a variety of different methods which encourage you to make the most of the facilities available to you at Chelsea. Chelsea library offers a wide range of collections, services and facilities and an extensive electronic library. You will also have access to the Chelsea Special Collection which is in great demand from galleries and museums. The Special Collection at Chelsea College bring together the work of key artists and designers from the modern and contemporary period in western art and design including Henry Moore; Gilbert & George; Kurt Schwitters and Pipilotti Rist. The artistic and intellectual legacies that such ground-breaking individuals have left, provide a unique opportunity for students to train using objects of the highest cultural value.

Donald Smith is Director of Exhibitions at Chelsea Space and Futurespace. MA Digital Theatre Wimbledon College of Art Introduction

MA Digital Theatre at Wimbledon engages in contemporary ideas, innovations and trans formations, in the devising and development of cutting edge performance practices. What to expect

By examining the practices that utilize the tools, methods and languages of contemporary digital culture, the course is designed for highly motivated and creative individuals who want to explore the boundaries of their professional skills through experimentation and begin to discover how to embrace the use of new technologies in their practice. The course is a practice based examination of digital technologies and their impact on theatre and performance practice. You will examine a range of visual, digital performance and design concepts such as: • online performance • video projection design • web interfaces and interactivity • gaming • the performance body • digital culture • the interrelationship of space and spectator. You will continue the debate of contemporary theatre practice and design by challenging conventional notions of theatre making and to

MA Courses

examine how theatre design and performance communicates to a contemporary audience. Over the course you will: • take part in practical skill based workshops • be a part of peer reviews • explore web based practices • get involved with performance debates • take part in seminars, individual and group tuition • make a piece of collaborative group performance with your peers • undertake personal research projects and performances • work towards your final independent project for exhibition. Facilities

Students at Wimbledon College of Art have access to world-class learning resources within the college including: The Jocelyn Herbert Archive, Centre for Drawing, Stanley Kubrick Archive, Wimbledon Space Gallery, Wimbledon College of Art Theatre, TV and Film Studio, and the Digital Media Centre. Course Leader

Douglas O’Connell is a video and projection designer who has worked with numerous productions and theatres, such as The Royal Shakespeare Company, Filter Theatre, Soho Theatre, Bluemouth Inc. (Toronto) and Lightwork. He is currently the curating lead for New Technology and Performance at the World Stage Design Exhibition 2013 in Cardiff. MA Drawing Wimbledon College of Art

What to expect

The course promotes drawing for a purpose. It focuses on process, ideas and cross-disciplinary dialogues that centre on communicating ideas to an audience, client or user. This course aims to bring together a range of practices and disciplines where common territories can be explored, and new languages and methodologies can be developed. These disciplines may include: • Architecture • Engineering • Cartography • Writing • Design • The Sciences • Art • Performance • Dance Students will explore a range of strategies with a view to defining a personal methodology for drawing, and will identify a relevancy and process for articulating a personal view or idea. At it's core, practice and making will define the work. It will promote collaboration across and between diverse disciplines and courses. The course structure and the development of collaborations across disciplines will be a distinctive feature. Facilities

Introduction

This course is aimed at students who have a strong belief in drawing, and who want to explore and interrogate their own agendas through the practice of drawing and seek methodologies and opportunities for extending their practice beyond the course.

Course Leader

Tania Kovats studied in Newcastle before getting her MA at the Royal College of Art, London. Selected for the Barclays Young Contemporaries in 1991, she received the young artist award. Recently, Kovats has turned her attention

MA Courses

predominantly to questions of archaeology, landscape and nature. MA Fine Art Chelsea College of Art and Design Introduction

MA Fine Art at Chelsea is an internationally renowned course and one of the longest running postgraduate fine art courses in the UK. We deliver a course which crosses the whole spec trum of what fine art is and can be.

conditions which shape and frame contemporary art practice. Facilities

You will have access to the following workshops and spaces: • woodwork • metalwork • ceramics • casting • foundry • photographic studios • audio/visual workshops • bookable project spaces

What to expect

At Chelsea, we create a tough, challenging and stimulating environment within which to re-evaluate and contextualize your practice. You will be equipped to sustain and develop your practice within a highly professional context. The course has three main phases: • Phase 1: Analysis of Practice and Exploration of Methodologies • Phase 2: Development and Consolidation • Phase 3: Resolution These phases are set within a credit framework of three assessed units: Studio Practice, Advanced Studio Practice (which run sequen tially), and Theoretical Studies, running throughout the course. We encourage you to generate discourse with your fellow students, re-evaluating your practice with each other. You need to be committed to producing a high level of independent work, underpinned by a challenging theoretical curriculum and instruction in approaches to research methodology. Teaching is delivered through a programme of regular one-to-one tutorials, seminars and lectures, featuring a wide array of artists and practitioners. Practice and theory are integrated, helping you to understand the contexts and

Course Leader

Brian Chalkley’s practice is an ongoing discussion with gender, sexuality and identity. He incorporates painting, performance and video work, and his work has appeared in exhibitions including Nothing is Forever at South London Gallery, Dandyism and Contempt at Camden Space and Der Meschen Klee at the Kunst im Tunnel, Dusseldorf, Germany. Babak Ghazi is a Senior Lecturer on the course. His ongoing project Lifework was recently exhibited at Raven Row, London and Etablissement D’en Face, Brussels. Recent visiting tutors include Dexter Dalwood, Melanie Gilligan, Gareth Jones, Polly Staple and Mark McGowan. MFA Fine Art Wimbledon College of Art Introduction

The MFA Fine Art at Wimbledon will support you in claiming your art practice through sus tained practical experimentation and contextual research. The Extended Full Time (EFT) mode is midway between full and part time study, and is designed to replicate the ways that many artists balance their Fine Art practices with their life and work commitments. What to expect

The course is divided into three units. It is

MA Courses

delivered more intensively during the first year, primarily in the college studios. During the latter part of the second year, some of your time will be spent outside college developing your art work in a context and working environment appro priate to your specific art practice. This allows you to practically test the developments in your art practice whilst being supported by a taught programme. You will be taught over 2–3 days per week – depending on the stage in the course – and you will have access to the MFA Fine Art studios on these days. The remainder of the week, you will be able to conduct research in London (and beyond); do volunteer work to gain experience, or do paid work/continue work at an existing job. You have access to College workshops 5 days per weeks and the University’s libraries 6 days per week. The two year duration – 2 × 30 weeks – gives time for a sustained enquiry into your art practice. By having a high level of awareness about how your work operates within the contemporary art world you will be able to ‘claim your practice’ by knowing the territory that your work occupies. Your professional skills will be honed through our Professional Toolkit, and the curriculum is based on the recent Arts Council England’s recommendations for the skills-sets required by both artists and arts organizations in order for them to flourish. You will create a web folio instead of a formal academic written paper, which contextualizes and showcases your artwork. You will learn how to set up websites and how to use your online presence to profile your work effectively. Facilities

College of Art Theatre, TV and Film Studio, and the Digital Media Centre. Course Leader

Edwina Fitzpatrick is a London-based artist. She is Course Leader for the MFA Fine Art Course at Wimbledon College of Art. She is involved with Creative Transition, a cross-CCW group of artists, researchers and students who aim to develop new models for a sustainable university. Edwina is currently undertaking an AHRCfunded, collaborative, practice-based PhD. Studying part time, she is working with Glasgow School of Art and the Forestry Commission at Grizedale in the Lake District to explore the mutable and transient nature of artwork which is sited in, or references, the green environment. Edwina’s research is driven by practice-based experiments, using the strategy of becoming and being lost herself, in order to explore what may be lost. MA Graphic Design Communication Chelsea College of Art and Design Introduction

We encourage a broad and diverse approach to design thinking and design practice, which will help you shape engaging and imaginative design solutions through material, media, technologies and people. What to expect

Graphic design is a means of communication which permeates across culture, society, com merce and science. We encourage you to respond to this challenge by teaching you how to organize and use design thinking in highly individual ways. Tutors will help you initiate frameworks for projects within which theoretical research and design practice are purposefully questioned and explored in relation to a theme, problem or proposition. You will learn how to develop your own rigourous design process, which will provide you with the means to employ critical thinking, shape materials and forms, generate

MA Courses

and communicate content, develop prototypes and engage with audience testing.

areas of concern, though you may well combine both:

Facilities

Research orientated Here, you develop projects that have a strong specialist agenda, which may question the boundaries between architecture, design and fine art. This mode is particularly appropriate for students coming from a fine art or archi tectural background who want to explore more conceptual notions of interior design.

The course is delivered through a variety of different methods, which encourage you to make the most of the facilities available to you at Chelsea. We have excellent 3D workshops includ ing wood, metal and ceramics, and a foundry; along with an audio-visual workshop for working with sound and moving image, and professional standard photography studios. Course Leader

Sadhna Jain is a former partner of EMMA (Euro pean Media Masters programme: a consortium of European institutions and specialists in Digital Media, funded by the European Com mission). Her personal research and practice has been presented at various sessions of Inter national Symposia of Electronic Arts, as well as Design and Media conferences in Toronto, Sao Paulo and the UK MA Interior & Spatial Design Chelsea College of Art and Design Introduction

You will explore conceptual spatial concerns and notions of how we inhabit space in an area of study that is distinct from but complementary to architecture. What to expect

You will address issues about how we inhabit space and develop sensibilities about intervening into existing architectural structures or situations. While we engage with the language of architecture, our expertise is in the experiential aspects of what it is to inhabit and interact with our spatial environ ment. This can encompass interior and exterior situations, with outcomes ranging from the functional design of built structures, fine art installations and furniture to film. The course offers the possibility to pursue two

Professional practice orientated This area of study emphasizes site investigation and spatial resolution, where you bring your research concerns to an existing site condition. Here, the outcomes are focused on the detailed design resolution of interventions into existing architectural or built conditions, and on the development of challenging social programmes to engage with a wide cultural environment. Facilities

The course is delivered through a variety of different methods, which encourage you to make the most of the facilities available to you at Chelsea. Chelsea library offers a wide range of collections, services and facilities and an extensive electronic library. You will also have access to the Chelsea Special Collection, which is in great demand from galleries and museums. We have excellent 3D workshops including wood, metal and ceramics, and a foundry; along with an audio visual workshop for working with sound and moving image and professional standard photography studios. Course Leader

Dr Ken Wilder is MA Programme Director at Chelsea and Course Leader of MA Interior and Spatial Design. He studied Environmental Design at the Royal College of Art; he has practiced and taught architecture. Ken now makes site-responsive sculptural installations, often including video projection.

MA Courses

MA Textile Design Chelsea College of Art and Design Introduction

You will explore creative approaches to sustainable textile and surface design, supported by a unique and vibrant community of fellow students, teaching staff and visiting practitioners. What to expect

On this studio-based, practice-led course, there are numerous opportunities for developing and collaborating on pioneering work within the textile industry; and your study is underpinned by a supportive theoretical framework, as well as instruction in professional contemporary practice. A key course focus is concern and debate about the designer’s role in and responsibility regard ing environmental issues. We encourage you to respond to the growing awareness of selecting raw materials, and working out the impact of production and the ultimate life cycle of the product, especially concerning its disposal or reuse. Throughout the course, you participate in and develop your skills through individual and group tutorials, workshops, online resources and postgraduate talks designed to introduce you to a range of visiting artists, designers and other practitioners. Our Textile Environment Design (TED) project at Chelsea is a unique research unit investigating the roles designers play in the field of eco design. It’s a resource that students, researchers and designers benefit from and contribute to. Facilities

The textiles course has its own specialist facili ties, which include a print and dye lab, sewing, knitting, weaving and digital print. In addition to these, you also have access to the shared work shops which include woodwork, metalwork, ceramics, casting and photography.

Course Leader

Lorna Bircham is an active member of the TED research group. Lorna has been involved with several research projects, ranging from an exploration of Tencel fibres exhibited at the Science Museum, to weave product development in Assam, India, to contributing to the TED Ever and Again by upcycling interior products. MA Theatre Design Wimbledon College of Art Introduction

The course is designed to support and further theatre design practice-based research at MA level over a one-year programme. Students will practice advanced level scenographic speculative methods, either collaboratively or as auteur. What to expect

You will be expected to interrogate contemporary scenography in the established modes of industrial practice in principally the fields of set and costume design, although students may also investigate the impact and effect of various specialisms in their studies, such as lighting, projection or sound. The course is structured in three distinct but connected parts to give you incremental autonomy over your practice, whilst also acknowledging that collaborative skills will most likely be the ‘root and branch’ of your work. Over the course you will: • study research practitioners past and present to form a distinctive view of your position in the discipline • share opinions with your peers about bodies of generally held views and attitudes to Theatre Design • collaborate with another postgraduate student director, choreographer or other theatremaker to practice and test your abilities to negotiate and communicate at an advanced level

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• take part in group critiques and formative peer assessment. Facilities

Michael Pavelka is an award-winning interna tional scenographer who has designed over 130 productions worldwide, many of which have been new plays or new musicals. His work has won many awards, such as the 2009 TMA Award for ‘Best Design’, ‘Special Award’ at the New York Obie Awards, and most recently, the ‘Best Musical Production’ award at the Theatre Awards UK, 2012. He has previously led both BA and MA Theatre Design courses at Wimbledon College of Art, is a Reader in Theatre Design/ Scenography at the University of the Arts London, and connects his teaching work to his professional practice. MA Visual Arts: Book Arts Camberwell College of Arts Introduction

Camberwell’s MA Book Arts students are at the cutting edge of defining book arts. They push the boundaries of what a book is and can be. Camberwell was the first college in the UK to provide specialist postgraduate study in the emerging field of Book Arts. Fuelled by advances in electronic information media and online publishing, the book has been freed from the traditional role as a container of information. Ongoing debates concerning the cultural, individual and creative functions of the book underpin course discussions.

What to expect

The course will allow you to develop a project from proposal to final exhibition. You will be asked to research content, materials and tech nical skills, then produce written and practical work exploring your subject in relationship to contemporary practice. This programme of work is supported, negotiated and supervised throughout the course by specialist academic staff in workshops, individual tutorials, seminars and lectures. Staff and student-led seminars promote debate and work-in-progress sessions allow for supportive critique. You will develop your research skills, professional practice and understanding of the wider context of book arts as an area of fine art and design practice. A shared lecture programme across the Visual Arts courses draws upon the richness of College research across the Graduate School. You will have the opportunity to get involved in artists’ book fairs and make visits to special collections including those at the Tate, John Latham’s Flat Time House and the National Art Library at the Victoria & Albert Museum. You have the chance to explore the expanded book in a display or installation by showing your work in public exhibitions. Facilities

The printmaking workshops give you access to both traditional and digital printmaking facilities including letterpress, bookbinding, monoprinting, relief, screen printing and computer-generated processes. You will also have access to our photographic facilities which include a studio, digital darkrooms and black and white and colour darkrooms as well as our 3D and Digital Media Resource Centres. Course Leader

Susan Johanknecht studied English Literature at the University of Vermont, and Fine Art, specia lizing in Printmaking, at Central Saint Martins. Her work focuses on the development and pro duction of artists’ books under the imprint of Gefn Press. Her writing has appeared in HOW(2) internet journal of Contemporary and Innovative

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Writing by Women and PORES avant-gardist journal of poetic research. Her artists’ books are in many collections including: New York Public Library; Saison Poetry Collection; Tate Library; National Art Library (Victoria & Albert Museum); Museum of Modern Art, New York; Bibliotheque Nationale, Paris; and Museum van het Boek, Netherlands. MA Visual Arts: Designer Maker Camberwell College of Arts Introduction

MA Designer Maker is aimed at practitioners with well-developed hands-on workshop skills who seek to develop a critical and reflective approach to their practice. Making and learning are intertwined and through a contextual programme, you will explore the position of the designer and maker within contemporary culture and society. Students on the course come from applied arts, design and fine art back grounds, including ceramics, furniture, jewellery design, metalwork and architecture. What to expect

You will develop an innovative studio practice through exploring new and existing materials and processes. Seminars and discussions cover a wide range of subjects, including material culture studies, anthropology, philosophy, sustainability, consumerism, museum studies, psychology and literature. You will make visits to collections, makers’ studios, galleries and museums. Through the development of a personal project, you will critically engage with contemporary debates in applied arts, design and object-based art, and collectively explorethe meaning of making and humanobject relationships. A wide range of works will be produced during the programme and for the final show, which have previously included lighting, design, ceramic works, furniture and jewellery, as well as installations of small-scale sculptures. These vary from batch productions to one-offs and limited editions. Showing your

work at public exhibitions and following a personal development programme ensures you leave with your practical skills well-honed. Facilities

You will have access to the 3D Resource Centre, which is a purpose built centre comprising of plastic, woodwork and metal workshops. There is also a foundry for metal casting and a ceramic workshop for throwing, firing and glazing clay. You will also have access to the other technical workshops within the college, including the Photography, Printmaking, and Digital Media Resource Centres, as well as the College library. Course Leader

Maiko Tsutsumi studied and apprenticed in furniture making and Japanese lacquer work in Kyoto in the 1990s, before moving to London to study furniture design at the Royal College of Art. She completed a practice-based PhD, The Poetics of Everyday Objects in 2007. Her cura torial projects include Thingness (2011/2013) and the Arts Council funded The Laundry Room (2012) at BalinHouseProjects, featuring Richard Wentworth and Michael Marriott. Maiko has been involved in the design industry for the last 16 years. Her research and studio practice focus on the role of materiality and skills in artistic practices, and their relationship to the practitioner’s thought processes. MA Visual Arts: Fine Art Digital Camberwell College of Arts Introduction

This Masters course is an invitation to students to join a research project that’s exploring and defining what art is in the digital age. It is about art that engages with, uses and is impacted by ‘the digital’. The course does not focus on tech nology, but presents it as a tool to facilitate ideas, placing emphasis upon its creative artistic use. It is offered both as a studio-based course in London and as an online, low residency course with students spread across the globe.

MA Courses

What to expect

Course Leader

You will blur and break the boundaries between traditional Fine Art disciplines such as painting, sculpture and printmaking and explore the space created by the digital. Your work may take physical, virtual or hybrid forms. This pro gramme of work is supported by specialist academic staff in workshops, individual tutorials, seminars and a shared visual arts lecture programme. You will have the opportunity to get involved in projects, seminars and presentations across the University and at other institutions. Previous opportunities have included the V&A, the Institute of Contemporary Arts, FACT in Liverpool, onedotzero, and galleries from China to Brazil. You will take part in a unique final exhibition combining work from our students in London with that of our students online around the world at the end of the course.

Jonathan Kearny has extensive experience of exhibiting worldwide and teaching in a variety of settings. Recent exhibitions have been seen in China, Brazil and London. For 9 years he has pioneered the opportunity to study a fine art masters course online. This innovative approach to learning is backed by his research and experimentation that shows how digital tools can enhance both learning and art practice.

Online option

This award-winning mode allows you to study from wherever you are in the world. Weekly chat sessions create a highly effective group dynamic. A supportive yet challenging community of practice quickly develops providing a uniquely flexible way to study. Students are often able to combine this mode of study with employment and other commitments. During the two years, students have the option of completing three two-week residencies. These residencies will include workshops, visits, discussions, lectures and access to our extensive facilities for the making and exhibiting of work. Facilities

All students have access to the excellent online resources available through the library, including ebooks, journals and extensive video tutorials. You will also have access to our print making workshops, letterpress, photographic facilities and our 3D Resource Centre, as well as digital resources, such as animation, video and sound editing.

MA Visual Arts: Illustration Camberwell College of Arts Introduction

Illustration in the 21st century demands strong voices, and entrepreneurial image-makers who can tell their own stories. Camberwell College of Arts has a long tradition of imaginative illustrative art, and this course builds on the skills you already have, through personally ambitious projects and wider interaction with the artistic community. What to expect

The course will focus on originality and authorship, aiming to encourage visual thinking, research skills and storytelling ability, while developing your entrepreneurial qualities, com munication and professional skills. Through a series of workshops, discussion groups, and oneto-one tutorials, you will develop a proposal for an ambitious and engaging project. You will test out and implement your critical and practical skills, as well as consider how your practice should develop and any new directions you may choose to take. You will attend both the shared and studio-based lecture programme, practi tioner visits and seminars. Shared lectures across the three Colleges draw upon the richness of the research with the College and across the Graduate School. Visits to museums and engagement with the creative environment that London offers are a vital part of the course. You will be encouraged to take part in group exhibitions, competitions and commissions,

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which have previously included collaborations with the Wellcome Trust, Blackhall Studios and Purestone digital marketing agency. Facilities

You will be emerged in a strong studio culture supported by technical facilities, which include inductions for the use of screen printing, etching and lithography, a letterpress, 3D workshops and digital video editing suites. Course Leader

Janet Woolley is an award-winning illustrator who has worked for numerous publications worldwide. Before taking the position of Course Leader for MA Illustration at Camberwell, she was Visiting Professor of Illustration at Central Saint Martins. Her work has appeared in publications that include Rolling Stone magazine, Time magazine, Sports Illustrated, Sunday Times, The Guardian, The Telegraph, Penguin Books USA and UK, Radio Times magazine and Walt Disney (The Art Of Mickey Mouse). Clients have included Bartle Bogle and Hegarty, Bloomberg, Fitch and Fitch, Ogilvy and Mather. MA Visual Arts: Printmaking Camberwell College of Arts Introduction

In this highly innovative and internationally regarded course, you will be encouraged to reflect on printmaking in its many contexts. The success of the course is due to its exploration of printmaking as a medium in its own right and its relationship to wider contemporary practices. It responds to current debates about the role of skill and authorship in the creation of artworks, and about the notion of the unique work of art. What to expect

You will be encouraged to take an innovative approach, using all forms of autographic print making. These include intaglio, lithographic, relief print, screen printing, letterpress

and computer-generated processes. You are encouraged to investigate and reconsider assumptions underlying the applications of autographic processes and new technologies. The programmes of study are designed to place the practice of printmaking in both a critical contemporary context and in a wide historical perspective. You will be asked to research the content, materials and technical skills appropriate to your projects, and produce written as well as practical work exploring your chosen subject area and relationship to contemporary practice. You will make visits to important print collections, and participate in symposiums and talks with curators and international artists. During the final develop ment and completion of your personal pro gramme, attention is given to personal focus, artistic direction and application. The final work is presented in the form of a public exhibition at the College. Facilities

The printmaking workshops give you access to both traditional and digital printmaking facili ties– including etching, aquatint, lithography (plate and stone), monoprinting, relief, screen printing, letterpress and computer-generated processes. You will also have access to our photographic facilities, which include a studio, digital darkrooms, and black and white and colour darkrooms, as well as our 3D and Digital Media Resource Centres. Course Leader

Johanna Love comes to Camberwell after having studied her PhD at Chelsea College of Art and Design. Before that, she was a Fellow at The Royal Academy Schools, London. She exhibits both nationally and internationally. Recent exhibitions include Dust, Avenue Gallery, University of Northampton, British Printmaking Japan, Kyoto Museum & Art Gallery; Viewfinder, Artspaceh Gallery, Seoul; Grey Matters, Aqffin Gallery London; 6th Graphic Biennial, Novosibirsk State Museum, Russia.

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MRes Arts Practice Chelsea College of Art and Design

extensive electronic library. You will also have access to the Chelsea Special Collection which is in great demand from galleries and museums.

Introduction

This Masters of Research course offers students the opportunity to develop a major individual research project within the research environ ment of the Graduate School at CCW, directed at further study at MPhil/PhD level. What to expect

The focus of the MRes is on each student's individual research project, which is a structured independent study developed in the context of the research environment at Chelsea and the CCW Graduate School. Each student is given supervision with a specialist in their area for this element of the course. Unit 1 and Unit 2 provides a strong platform for this independent study, by developing individual skills and research competencies through a collective understanding of the language of art and design research, its historical and contem porary contexts, and its current debates. Key skills developed through group work in Unit 1 and Unit 2 include problem setting and solving, the identification of research aims and objectives, mapping the field of inquiry, project coordination and management, reflec tion and feedback, and the communication and dissemination of research outcomes. No single theoretical model, or mode of practice is privileged on the course; with or without practice, the emphasis is on the clarification of research questions, and the positions of the enquirer, while questioning or testing established hierarchies and conventions. Facilities

Course Leader

Dr Paul Ryan is an artist who focuses on drawing (particularly the sketchbook), with a theoretical grounding in American semiotics. www.paulryan.co.uk. His doctoral research developed an analytic tool to organize the different meanings that practice and theory can convey.

MA Courses

How to Apply Scholarships & bursaries Entry requirements

An Honours degree or equivalent academic/ professional qualifications. MA Applicants who do not have English as a first language must show proof of IELTS 6.5 (with a minimum of 5.5 in each skill), or equivalent in English, upon enrolment. The University takes into consideration prior learning, alternative qualifications and experience. Portfolio and statement of intent

As well as your application form and supporting statement of intent or research proposal, we may ask you to submit a portfolio of work (refer to relevant course web pages for portfolio format submission requirements). Applicants will be shortlisted at this stage against the entry requirements and selection criteria for the course. Interview

If you have been shortlisted and are invited to interview, you will be asked to attend a College on a set day. Usually around two to three weeks after your portfolio review and interview, we will write to you informing you of our decision. Application forms

Download the application form by clicking the ‘Apply’ tab on the relevant course information page. You can also pick up application forms at our open days. Application Deadlines

UK/EU applicants: 1 July 2014 International applicants: no official deadline but you are advised to apply as soon as possible. Fees & funding

Fees for 2014 entry have not been set yet. For the most up-to-date information please visit: www.arts.ac.uk/fees-funding

The CCW Graduate School has a range of bursaries and scholarships that you can apply for to help fund your postgraduate study. These include the Caspian Arts Foundation Scholar ship, the Ashley Family Foundation Scholarship, the Cecil Lewis Sculpture Scholarships, the Patrick & Kelly Lynch Scholarship and the Stanley Picker Charitable Trust Scholarship. There are also a number of Vice Chancellor’s Scholarships available for Home/EU and International post graduate applicants. On the course pages on the website, there is information about coursespecific funding opportunities. You should also visit: www.arts.ac.uk/fees-funding/funding/ postgraduatestudents

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Student Profile: Egidija Cˇiricaite· Completed MA student

and redeveloping my work across a variety of possibilities.

I came to MA Book Arts from the Foundation course at Chelsea College of Art and Design. I have worked on various graphic design projects since my first round of education in the late nineties, when I completed an MA in English Linguistics in Lithuania.

During the two years at CCW (Camberwell, part-time) I gained the knowledge of networks and skills that allowed me to progress after graduation. At the graduation show, my works were bought by Tate Library’s Special Collection – a great boost of confidence! I have since exhibited and curated in book art and fine art contexts in the UK and abroad. I have run creative bookmaking workshops in schools, galleries and museums, including the British Museum. I have also received the Bookartbookshop award, which led to me to coestablish Collective Investigations with codex: between this and that project (supported by the Arts Council), as a platform to broaden discourse on the idea of the book through investigation into codex, as its dominant form. The project was conceived as a consequence of the two years spent thinking, talking and creating as part of the MA Book Arts course.

As I was graduating from the Foundation course at Chelsea, I knew I wanted to continue with my arts education, but I felt that yet another BA was not an option. MA Book Arts seemed like a natural continuum to my creative and academic interests. It appeared to be an open-minded course with enough fluidity to accommodate my inconsistent knowledge of arts and a pro nounced bias towards all things nerdy. Indeed, the course allowed me to spend unreasonable amounts of time in ceramics and casting workshops exploring, developing

Development of Computational Technologies in Socialist Countries, 1971, Egidija Cˇiricaite·, from the Damnatio Memoriae series, 2011

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Student Profile: Francesca Peschier Current MRes Arts Practice student

I was previously enrolled on a PhD straight from a Theatre Design BA and a career as a scenic artist. Having struggled with methodology and theory, I was recommended the MRes course to get me back on track. The MRes is seen as an interim course between MA and PhD but is often underrated as a standalone course. I had started to doubt that going back into education had been the right decision for me, but the MRes has so far been such an incredibly positive experi ence that I am planning to try to return to do a PhD next year. The MRes has been so much more rewarding than just me finally finding out what Derrida was going on about. The dynamic of the small group, led by my personable and inspiring tutor Dr Paul Ryan, has reignited my love of research. There is an excellent balance of taught seminars, leaving students with a toolkit of research skills and student-led initiatives, such as a mini symposium on ‘What is research in art and design?’ This term has seen students leading their own sessions on diverse subjects including aesthetics, feminism and visuality, sharing their work in a critical environment and taking those vital steps to becoming experts in their fields. As someone who has suffered with stammering and nerves, this has increased my confidence in not just presentation but in my studies more generally.

The research body at CCW is unique. The research is alive and being shared between students and staff with regular events, research days and guest lecturers. This inspired me to start JAWS (Journal of Arts Writing by Students), the first entirely student-led journal dedicated to the arts. With support from the Student Union, the publication is now preparing for its third edition and has had funding confirmed for a second year with some exciting projections, including a budding relationship with the British Museum, and two exhibitions relating to practice as research, documented in the Summer and Autumn issues. I am very proud of everyone who has been involved and grateful for the support we have received from staff and students across CCW and UAL. JAWS is an example of a CCW student-led initiative and shows how professors and tutors encourage enterprise and innovation. During my time on the MRes, I feel I have grown from a student to taking those first steps to becoming an arts researcher. The collaboration and support of the (often described as ‘lively’!) other MRes students has expanded outside of the classroom, with JAWS, gallery trips and reading groups. As a Course Rep, I have also had the privilege of seeing how important student feedback is to the Dean and student services. CCW has formed more than a nexus for know ledge there is also a really supportive, active research community.

Badges featuring the JAWS logo

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Research Degrees

Research Study at CCW: MPhil/PhD

Through the combined work of the many talented and dedicated professors, readers and researchers within our CCW Graduate School, we are able to offer an exciting and rigorous experience for our research degree students.

opportunity to work as Graduate Teaching Assistants with students and staff on our taught courses. This scheme aims to provide PhD students with opportunities to teach while enhancing research ethos awareness in the taught course curriculum. Entry requirements

Our research activities are frequently grounded in the portfolio of art and design subjects represented by our taught Masters programmes. They offer new and challenging ways of thinking about how specific disciplines can share common concerns and questions. Issues surrounding the practice, theoretical and historical contexts of Fine Art, Design, Conservation and Theatre are developed and interrogated through a focused research approach of contemporary relevance. At MPhil and PhD level, we are particularly interested in research proposals that address individually, collectively or in tandem, the four current Graduate School themes of Environment, Tech nologies, Social Engagement and Identities. We are also particularly interested in PhD research proposals relating to the following areas: • the investigation and redefinition of the limits of performance, costume design and scenographic practice • research into environmental issues and sustainability in art and design practice • research within the field of fine art painting • research on the moving image in art and design contexts • interdisciplinary research on drawing. • investigations of the past and future of art and design institutions, and radical and experimental pedagogy in art and design • the political economy of art and design past, present and future. Our PhD students have access to a lively programme of seminars and masterclasses, and weekly lectures and events. CCW also runs a Graduate Teaching Scheme which provides PhD students with the

We consider a Masters degree in an appropriate subject to be particularly valuable in preparing candidates for a research degree. However, the minimum requirement is an upper second-class Honours degree, or equivalent academic professional qualification. Applicants who do not have English as a first language must show proof of IELTS 7.0 (with a 7.0 in writing) or equivalent. The University takes prior learning, experience and alternative qualifications into consideration. Proposal and Portfolio

With your application, we ask you to submit a research proposal following the guidelines in the application form. If your proposal is practicebased, you may also wish to submit a portfolio of work (usually in CD or DVD format). Interview

If you have been shortlisted, you will be invited to attend an interview at the CCW Graduate School with a small panel of academic staff. Application Form and Application Deadline:

www.arts.ac.uk/research/apply

Research Degrees

Current Research Degree Supervisors The following is a list of current CCW academic staff engaged in research degree supervision. This list is updated on an annual basis in relation to the matching of supervisory expertise to enrolled research students.

• Addison, Gill: Fine art and expanded documentary practices. • Asbury, Michael: Art history and theory, and modernism and contemporary art in Brazil. • Beech, David: Contemporary art practices and debates, the public sphere and politically engaged practices. • Blacklock, George: Fine art, painting and abstract pictorial space. • Boyce, Sonia: Art as social practice, fine art practice and drawing. • Chesher, Andrew: Fine art, documentary practice, avant-garde music, structures and practices. • Coldwell, Paul: Printmaking, sculpture, digital art, installation, memory and the work of Morandi. • Collins, Jane: Performance, identity, theatre design, scenography. • Cross, David: Fine art, context-specific sculptural installation and photography. • Cummings, Neil: Critical practice, contemporary creative practice, art and social process, critical practice and digital technology. • Dennis, Jeffrey: Fine art, painting, drawing, meaning and process in contemporary painting. • Dibosa, David: Spectatorship, exhibitions, museums and curating, migration cultures. • Dobai, Sarah: Photography, film, video, narrative, portraiture and billboards. • Donszelmann, Bernice: Fine art theory and practice, architectural space and wall installation. • Earley, Rebecca: Eco-design, fashion, textiles, new textile technologies and contemporary craft practice. • Elwes, Catherine: Artists’ film and video, feminist art, wartime SAS.

• Fairnington, Mark: Fine art painting. • Farthing, Stephen: Drawing, pedagogy and cross-disciplinarity. • Faure Walker, James: Painting, digital arts, drawing and criticism. • Goodwin, Paul: History and theory of art, and curation. • Hogan, Eileen: Fine art, painting, portraits, book arts, archives, Jocelyn Herbert. • Ingham, Mark: Fine art, installation, photography, sculpture, moving image. • Kikuchi, Yuko: Art, design and craft history in Britain, Japan and Taiwan. Modernity and national identity in non-western visual cultures. • Maloney, Peter: Parallel spaces, virtual reality and simulation, media arts, models and visual thought/idea visualization. • Newman, Hayley: Performance and ‘liveness’, relationship between performance and its documentation. • O’Riley, Tim: Fine art, optical imaging, computer technology. • Osbourne, Richard: Philosophy and cultural studies, art theory. • Pavelka, Michael: Theatre design, scenography. • Pickwoad, Nicholas: Book and library conservation, devising new techniques and methods to document material. • Politowicz, Kay: Development of textiles within interiors, textile design and production with an environmental agenda, and addressing design problems. • Pratt, Katie: Fine art, painting. • Quinn, Malcolm: Critical practice. • Ryan, Paul: American semiotics, drawings, research methods. • Sandino, Linda: History and theory of the applied arts, the role of narrated life stories and identity formation of practitioners in the creative industries. • Sandy, Mark: Haptic technologies within conservation training, properties of cellulose and paper in relation to deterioration and conservation. • Scrivener, Stephen: Collaborative design,

Research Degrees

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computer-mediated design, user-centred participatory design, practice-based research. Smith, Dan: Fine art theory, notions of archive, memory and the utopian impulse within cultural forms. Sturgis, Dan: Contemporary painting, abstract painting, fine art, curating. Thomas, Jennet: Experimental and narrative film and video. Throp, Mo: Fine art, curating, teacher identity, subjectivity, feminism, psychoanalysis. Tulloch, Carol: Dress and textiles associated with the African diaspora, material and visual culture, writing and curating. Velios, Athanasios: Computer applications to conservation, digitization, digital preservation, the concept of ethics in digital conservation and preservation. Wainwright, Chris: Photography, fine art, light forms, video, curating, climate change and cultural responses to the environment. Walsh, Maria: Artist’s film and video, installation, film narrative and theory, spectatorship, phenomenology, performative writing, subjectivity and feminisms. Watanabe, Toshio: Transnational art, art, architecture and design of Victorian and Edwardian Britain and Japan 1850–1950, japonisme and orientalism. Wilder, Ken: Projective space, installation art, video sculpture, spatial practice, philosophy of art.

Registered Research Degree Students

• Carden, Jessica: ‘Contemporary Visual Representations of the Non-White Figure in the Arctic Landscape: British Colonial Constructions of the Heart of Whiteness and the Black/White Binary as Fetish’; Tulloch, Carol • Cordiero, Mario: ‘Colour Forecast Applied to Visual Arts’; Coldwell, Paul • Elliott, Katie: ‘The Signification of Costumed Bodies in the Tanztheater Wuppertal’; Collins, Jane

• Gotti, Sofia: ‘Counterculture in Pop – South American Art in the 1960s’; Asbury, Michael • Helyar-Cardwell, Thomas: ‘Speculative Drawing: How to Draw the Essence of Things’; Fairnington, Mark • Lydiat, Anne: ‘If the Ship is a Paradigm of a Heterotopia, How Can Gendered Art Practices Inform Discourses in Relation to this Transgressive Space?’; Quinn, Malcolm • Moloney, Donal: ‘An Analysis of 'Gestational' Painting Processes used in Representational Painting’; Sturgis, Dan • Phelps, Sharon: ‘Agnes Martin: Painting as Making and its Relation to Contemporary Practice’; Fortnum, Rebecca • Williams, Greg: ‘Speculative-Drawing: How to Draw the Essence of Things’; Farthing, Stephen • Wilson, Robert: ‘Facilitating Imaginative and Creative Learning in Later Life Through Drawing’; Farthing, Stephen Confirmed Research Degree Students

• Guerrero Rippberger, Sara Angel: ‘Parallels in the Identity Politics of Latin American and Middle Eastern Art, 1960s–Present’; Baddeley, Oriana • Hetayothin, Chanya: ‘Thai Shadow Puppets: An Alternative Direction for Animation’; Faure Walker, James • Hodgson-Teall, Angela: ‘Drawing on the Nature of Empathy’; Quinn, Malcolm • Hoolahan, Fay: ‘Creative Geographies: mappings of ‘Place’ via Time in Moving Image Art’; Elwes, Catherine • Jump, Sophie: ‘The Theatre Designs of Motley and Jocelyn Herbert, 1935–1965’; Collins, Jane • Kassianidou, Marina: ‘In-Between Marks and Surfaces: Approaching from the Feminine’; Dennis, Jeffrey • Kember, Pamela: ‘Perfectly at Home Nowhere: Artists from Hong Kong’s Visual Diaspora’; Kikuchi, Yuko • Long, Catherine: ‘Feminist Dialogue with the Camera; Progressing Strategies to CounterObjectiftcation and Negative Representations

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Research Degrees

in the Moving Image through Embodiment and the Autoethnographic’; Elwes, Catherine Lopez de la Torre, Ana Laura: ‘Living Together: The Artist as a Neighbour’; Scrivener, Stephen Lori, Ope Sarah: ‘Image Making and the Oppositional Gaze: Re-visualizing Western Representations of Race and Gender in the Female Body 1980–2010’; Tulloch, Carol Menezes, Caroline: ‘Curatorship and the Mapping of Post-Duchampian Art in Brazil and the UK in the late-20th Century’; Asbury, Michael Montoya Ortega, Marcela: ‘Re-situating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicaness’; Tulloch, Carol Morgana, Corrado: ‘Ludic Interventions in Dialogic Space; Socialized Activity, Play and “The Game”’; Cummings, Neil Nunez Adaid, German Alfonso: ‘The Emergence of Digital Art’; Asbury, Michael Pelling, Kate: ‘Editing Verbal Behaviour in Artists’ Direct Address to Camera’; Newman, Hayley Rabourdin, Caroline: ‘Spatial Translations between Paris and London: Defining Embodied Bilingualism’; Donszelmann, Bernice Reid, Imogen: ‘Between the Viewer and the Screen’; Walsh, Maria Ricketts, Michael: ‘(Post-)Conceptualism / Urbanism’; Cummings, Neil Ross, Michaela: ‘The Role and Status of the Artist-Educator in Institutional Contexts’; Scrivener, Stephen Rowe, June: ‘Sculpting Beauty: A Cultural Analysis of Mannequin Design and Fashionable Feminine Silhouettes’; Hogan, Eileen Sivaraman, Deepan: ‘Spatial Identities and Visual Language in Indian Theatre’; Collins, Jane Stylianou, Nicola: ‘Producing and Collecting for Imperial Britain: The African textiles in the Victoria & Albert Museum 1850–1950’; Watanabe, Toshio Tan, Bridget: ‘Gestures and Acclamations:

Some Assembly Required’; Quinn, Malcolm • Threapleton, James: ‘The Corroded Surface: Portrait of the Sublime’; Sturgis, Dan • Webb, Charlotte: ‘Towards an ExtraSubjective Agency in Web-Based Artistic Practice’; Sandino, Linda • Wright, Jennifer: ‘Extending the Field of Drawing the Body: Fine Art Anatomical Drawing and its Relationship to Developing Medical Technologies and Procedures’; Scrivener, Stephen

Completed Research Degree Students

• Bailey, Catherine: ‘The Reeves Collection: An Investigation into Chinese Botanical Drawings, their Identification and Conservation’; Sandy, Mark • Bradfield, Marsha: ‘Utterance and Authorship in Dialogic Art: or an Account of a Barcamp in Response to the Question, “What is Dialogic Art?”’; Cummings, Neil • Goldsworthy, Kate: ‘Laser Finishing: A New Process for Designing Recyclability in Synthetic Textiles’; Scrivener, Stephen • Hjelde, Katrine: ‘Constructing a Reflective Site: Practice between Art and Pedagogy in the Art School’; Drew, Linda • Love, Johanna: ‘Dust: Exploring surface, Material and Time within the Photographic Print’; Coldwell, Paul • Ross, Michaela: ‘The Artist-as-Educator: Dialogue, Community and the Institutional Site’; Scrivener, Stephen • Stylianou, Nicola: ‘Producing and Collecting for Empire: African Textiles in the V&A 1852–2000’; Watanabe, Toshio

Research Degrees

Profile: Kate Goldsworthy Completed PhD student

The PhD for me was an opportunity to step outside of a commercial practice in which I had been embedded for over 10 years previously and to deep-dive into a project that had been quietly developing in my mind throughout that time. It would have been impossible to explore this project fully in the commercial design context. Time, as well as economic and market restrictions, would have made any risk-taking almost impossible. The scary thing about a practice-based project is often the level of uncertainty there is at the start about exactly what form the project will take and which methods are most appropriate. In my experience, there was a period of free-fall experimentation (based on a ‘hunch’, truthfully) running alongside the more structured desk-based research. This almost intuitive process eventually proved to be the product of tacit knowledge gained through

Laser line and zero waste sample, Kate Goldsworthy, 2012

my time working ‘hands-on’ with materials. Of course, I would never have described it that way at the start. When eventually the theoretical and the practical elements came together, both were stronger – the synthesis was a powerful tool for understanding. Now I have completed, I would definitely say the experience was both rewarding and worthwhile. I imagined at the start I might return to industry with a new technique or point of view, but during the process I have changed as a designer, and now feel very much a part of the research community. In fact, a highlight of my experience was being part of the TED research project here at CCW. Working in isolation can be one of the hardest parts of doctoral study, and being able to develop the project within a dynamic and supportive team was incredibly valuable. The work I produced in the PhD is now feeding back into industry, as part of my new role as Senior Research Fellow with TED, but in ways I previously would not have been able to imagine.

Research Degrees

Profile: Katie Elliott Current PhD student

My lifestyle has transformed since becoming a doctoral student. For the first time, I feel a sense of ‘doing’ my research, as opposed to hypothesizing it. By ‘doing’, I am referring to the active participation in various activities that comes with being a PhD student. In my case, each one has brought unique, fresh and challenging complexities into my experience; such as taking part in the CCW exhibition VisUAL RESEARCH, drawing the costumed dancers who are at the centre of my enquiry (working title: ‘The Signification of Costumed Bodies in the Tanztheater Wuppertal’), and communicating my project to a variety of audiences in spoken presentations, writing, and through my drawing practice. Prior to beginning my PhD, I completed a Masters in Research: Arts Practice (CCW), which led me to think about making the commitment to

Café Müller, Katie Elliot, pencil on paper, 59 × 42 cm, 2012

doctoral study. The decision to continue my research at the CCW Gradate School was made easy by my eagerness to remain in its community, which had been so welcoming to me as an aspiring researcher during my Masters year. Equally significant in this decision was the need to place my enquiry at the site where some of the key contributions are being made to my field (the costumed body in performance) by leading researchers and practitioners based at CCW. As a result of this environment, my work is continually stimulated and critiqued via con versations with my supervisory team, colleagues and friends. I have come to value this exchange as vital to the progression of ideas. This has made me consider a future in teaching alongside research. I have always thought of my PhD as a path towards an academic career, and am now working towards a CLTAD qualification in peda gogic practice to develop my skills. www.katieelizabethelliott@wordpress.com

Research Degrees

Profile: Joanne O’Hara Post-doctoral Research Fellow

and its relationship to both general literacy and creative thinking.

Through research and exhibition curation, the project aims to audit the part that drawing played in the decision-making processes that enabled the London 2012 Olympic and Para lympic Games. The audit will use drawings by designers and managers with a view towards establishing a cross disciplinary understanding of the intellectual, political, aesthetic and cul tural climate of this unique nationally located, but globally important, event.

The themes of the research and exhibition project are: Place – including drawings relating to archaeology, temporary structures and change, permanency, legacy and accessibility; Movement – notational images from athletes to dancers; Performance – drawings relating to opening and closing ceremonies, costume design, choreo graphy and musical notation; and Iconic – encap sulating the essence of the host nation and the Olympic movement.

The relationship between drawing, design and decision making will be established by creating a sample group of drawings taken from across a range of stakeholders and cultures during one small slice of time, and will encourage crossdisciplinary thinking. The methodology will col lect, sift, collate and make sense of information that relates to the uses of drawing, and will therefore enable new understandings of drawing

The story of London 2012 will be told both visually and verbally and the output of this pro ject will be presented in my exhibition in 2014, and may lead to similar projects in future Olympic host nations.

Pudding Mill Pumping Station, John Lyall, 2008

Research Degrees

Profile: Marsha Bradfield Post-doctoral Research Fellow

I am an artist, curator, writer, educator and researcher. I explore collaborative ways of working through co-authoring projects, such as events, publications, interventions and exhibitions. My post-doctoral project evolved from my PhD research, completed in 2013 at Chelsea College of Art and Design. My practice-based thesis elaborates ‘dialogic art’ as concerned with the interplay of its human authors and non-human agents (i.e. technology and tradition) as they interact with objects, systems, information and each other. This research developed through working with various collaborations, including The Practice Exchange, Precarious Workers Brigade, Contemporary Marxism Collective, Free/Slow University Warsaw and, most impor tantly, Critical Practice: a cluster of designers, artists, academics and others tethered to Chelsea College of Art and Design. For example, producing PARADE: Modes of Assembly and Forms of Address with Critical Practice deepened my appreciation for the range and complexity of interactions through which ‘publicness’ is socially (re)produced. As a two-year collaborative research project (2008–10), PARADE culminated in a weekend-long event that hosted barcamps on ‘being in public’ along with a public market that proffered various ‘public goods’. The week end unfolded in a bespoke structure composed of 4300 black milk crates that was constructed on the Rootstein Hopkins Parade Ground at Chelsea College of Art and Design.

My post-doctoral research project is anchored in Critical Practice’s collaborative ways of working. These are marked by transparency, rough consensus, interdisciplinarity and an interest in understanding, producing and preserving resources in common. As a longstanding member of Critical Practice, I am well placed to undertake this embedded research. My investigation tracks with the Cluster’s current work on ‘evaluation’ (exploring the ways in which value and meaning are produced, and how this could and perhaps should be different). Engaging the conditions of the Cluster’s own possibility, I will telescope into the intersection of its economy (financial and material resources) and its ecology (human resources and interpersonal reciprocities). Crucially, I aim to explore this intersection within the broader context of CCW, the UAL and cultural production beyond. An important aspect of this research entails linking together collaborative initiatives that, like Critical Practice, value reflective and reflexive approaches to their sociocultural reproduction and practice-based research. Principally, this means identifying and growing an economy of creativity.

www.criticalpracticechelsea.org

The Rise of Personal Equity, Marsha Bradfield

Professors

Paul Coldwell Professor Biography Paul Coldwell is a practising artist

and researcher. His art practice includes prints, bookworks, sculptures and installations. He has exhibited widely and his work is included in numerous public collections, including Tate, Victoria & Albert Museum (V&A), the British Museum and the Arts Council of England. He has curated a number of exhibitions, most recently, Morandi’s Legacy; Influences On British Art at the Estorick Collection in London, accompanied by a book published by Philip Wilson. In 2010, he published a major survey of printmaking, Printmaking: a Contemporary Perspective (Black Dog Publishers) and was keynote speaker at Impact 7 International Printmaking Conference in Melbourne 2011. He was appointed to the editorial board of the international journal Print Quarterly in 2009, has been on the advisory board for the journal Art in Print since 2011 and is an elected member of AICA. He is a member of the AHRC Peer Review College and was chairman of the selection jury for the Imprint International Graphic Art Triennial in Warsaw, Poland in 2011. In 2013, he was the subject of a major survey exhibition, Paul Coldwell: A Layered Practice, staged at the Universities of Kent and Greenwich. www.paulcoldwell.org Research statement My research is focused

on a practice-based approach and located within fine art. Through printmaking, sculpture, installation and writing, I explore issues around absence and loss, with ideas crossing between media. A recurring question for me is how new technologies impact on previous processes, in particular within printmaking; and how digital technologies can inform and rejuvenate older technologies, such as etching and screen print. In addition, through my engagement with objects, I have been drawn to archives including The Freud Museum, Kettle’s Yard and the Scott Polar Research Institute as starting points for sustained investigation.

A recent output Paul Coldwell: A Layered

Practice – Graphic Work 1993–2012. This survey exhibition curated by Ben Thomas was staged at the Universities of Kent and Greenwich and was accompanied by a substantial publication with critical essays by both Thomas and Christian Rümelin, in which Thomas suggests that I had been at the forefront of a ‘cultural shift in perceptions about the contemporary print’ in both my scholarly work and my ‘own innovative art practice’. The exhibition featured over 50 prints, two bookworks and three small sculp tures to give a sense of the interrelationships between these media in my practice. The cata logue also included my own commentary on each series of works to open up understanding of both the techniques and the conceptual ideas that underpin the work, in particular reference to the role of new technology. To further dis seminate the research embedded within the artworks, I have given a number of talks, includ ing the invitation to speak in Melbourne as the guest of the Print Council of Australia (April 2013). The exhibition has also drawn scholarly essays in Art in Print, and articles in Imprint (The Journal of the Print Council of Australia) and Printmaking Today. Selected publications 2013 Re imaging Scott: Objects and Journeys. Cambridge: Scott Polar Research Institute 2013 Paul Coldwell: A Layered Practice. Graphic work 1993–2012. London: University of Kent and University of Greenwich 2013 ‘Stephen Chambers: The Big Country’. Art in Print. www.artinprint.org 2012 Big Prints for a Bigger World. Ljubljana: International Centre of Graphic Arts 2012 ‘Matrix and Meaning: The Site-Specific Floor-Cuts of Thomas Kilpper’. Print Quarterly. vol. XXIX 2011 ‘Christiane Baumgartner Between States’. Art in Print. www.artinprint.org Selected exhibitions 2013 Re-imaging Scott: Objects and Journeys. Cambridge: Scott Polar Research Institute

Professors

Still Life with Keys, Paul Coldwell, inkjet and laser-cut relief print, image size 47 × 64cm (paper size 59 × 84 cm), 2013

2013 Paul Coldwell: A Layered Practice. Graphic work 1993–2012. London: University of Kent and University of Greenwich 2012 Awagami and Print Expression. Tokyo: Bumpodo Gallery, Tokyo 2012 Digital Aesthetics 3. Preston: Harris Museum 2012 Kith & Kin II. Sunderland: National Glass Centre 2012 The Mechanical Hand. London: King’s Place 2012 SCOPE New Photographic Practices. Beijing: Tsinghua University Gallery 2012 Global Matrix III. Purdue University: Ringel Gallery and the Stewart Center Gallery 2011 Northern Print Biennial. Newcastle: Laing Gallery 2011 Cartographies: Mapping Intersections and Counterpoints. Melbourne: Monash University

2011 Viewfinder. Cambridge: Ruskin Gallery 2011 IMPRINT 2011. Warsaw: Kulisiewicz International Graphic Arts Triennial 2011 40 Artists – 80 Drawings. Bideford: Burton Art Gallery and Museum 2011 Drawing: Interpretation/Translation. London: Wimbledon Space Peer esteem 2012 Invited artist. New Jersey: Montclair University 2011 Keynote speaker and peer review panel member. Melbourne: Impact 7 International Printmaking Conference 2011 International jury. Warsaw: Imprint Kulisiewicz Graphics Arts Triennial

Professors

Jane Collins Professor Biography Jane Collins is Professor of Theatre

and Performance at Wimbledon College of Art. She is a writer, director and theatre-maker who works all over the UK and internationally. She co-edited Theatre and Performance Design: a Reader in Scenography, published by Routledge in March 2010. This book, containing over 52 texts, is the first of its kind in this field. In 2009, Collins restaged the award-winning Ten Thousand Several Doors for the Brighton International Festival and her essay on this production is included in the collection, Performing Site-Specific Theatre: Politics, Place, Practice published in autumn 2012. The book was launched at Chelsea College of Art and Design in January 2013. Also in 2012, Collins secured funding to establish a partnership between the University of Hyderabad and Wimbledon College of Art from UKIERI (UKIndia Education and Research Initiative) to jointly investigate ‘Scenography in a digital age; a comparative study of the impact of new media on contemporary Indian and British perfor mance practice.’ She is a founding member of (A) Performance Group, an interdisciplinary network of artists who run workshops and per formance-related events across CCW. Research statement My research locates

theatre and performance within the wider dis course of arts practice. It uses scenography as a frame of reference and an analytical focus to consider the interrelatedness of all the elements that make up a performance and to (re)assess the role of ‘live’ performance in a social arena increasingly dominated by electronic and digital media. In my practice and my critical writing, I am engaged in making and reflecting on per formances that expand conventional notions of theatrical space and explore the potential of new psycho/spatial relations between actors and audience. This has resulted in the production of new works as well as unconventional readings of canonical texts.

A recent output Embodied presence and

dislocated spaces: playing the audience in Ten Thousand Several Doors in a promenade, sitespecific performance of John Webster’s The Duchess of Malfi. Within the framework of expanding notions of site-specific performance, this chapter uses Ten Thousand Several Doors, an award-winning production directed by Collins in 2006 and restaged in 2009, as a case study to investigate the potential of site-based work to produce new readings of classic texts. Contemporary theories of performance and spectatorship are used to analyse the production and reception of the work. Collins proposes that the embodied presence of the audience, combined with the spatial properties of the site itself, afforded the actors opportunities for ‘play’ that displaced the audience from the security of their position as viewing subject. As one element of sceno graphy, moving through space, the role of the audience shifted between participant and observer. This heightened engagement, Collins argues, embroiled the audience in the moral ambiguities of Webster’s text in ways that more conventional staging would not have permitted. Selected publications 2013 ‘A Scenography Workshop on Campus in Hyderabad: Romeo, Juliet and the Security Guard’. Studies in Theatre and Performance. Forthcoming. Intellect Press 2012 ‘Embodied Presence and Dislocated Spaces: Playing the Audience’ in Ten Thousand Several Doors, a promenade, sitespecific performance of John Webster’s The Duchess of Malfi. In: Performing SiteSpecific: Politics, Place, Practice. Birch, A. & Tompkins, J. (eds) New York: Palgrave Selected exhibitions 2011 re:Searching: Playing in the Archive. London: ING Bank

Professors

Selected conference presentations 2013 Los Angeles: LACMA Stanley Kubrick Symposium 2013 Delhi: 15th Bharat Rang Mahotsav, International Theatre Festival 2012 Leeds: Performance Studies International 2011 Prague: Prague Quadrennial Performance Design and Space 2011 Hyderabad: Indian Society of Theatre Research Selected performances 2012 Romeo, Juliet and the Security Guard. Bharat Rang Mahotsav, New Delhi: National School of Drama 2010â&#x20AC;&#x201C;11 Space and Light: Edward Gordon Craig. Galerie Jaroslava Fragnera, Prague; and Victoria & Albert Museum, London 2011 re:Searching: Playing in the Archive. ING Bank, London

Performing Site-Specific Theatre, Palgrave Macmillan, 2012

Professors

Neil Cummings Professor Biography Neil Cummings is Professor of

Theory and Practice at Chelsea. He was born in Wales, and lives in London. www.neilcummings.com

Chelsea College of Art and Design looking at waste streams – the skip used to dump unwanted artworks, trashed exhibition-making stuff, unloved things and materials. We then discussed what to make, and what was missing from the public infrastructure of the Parade Ground. We decided to scavenge materials and reconvene after lunch …

Research statement I have evolved a multi-

disciplinary art practice that often requires an intense period of research within the specific contexts in which art is produced, distributed and encounters its audiences. Principally, this has meant working directly with museums, galleries, archives and art schools. I often work collaboratively with other artists, curators, academics, researchers or producers to create artworks, exhibitions and events from existing collections or contexts. Each artwork or event finds an appropriate form, and these are as varied as creating exhibitions – Enthusiasm at the Whitechapel Gallery, curating film pro grammes – Social Cinema at several temporary locations in central London, writing and editing films – Museum Futures, books – Self Portrait: Arnolfini – or convening participatory events. A recent output CCW Masterclass: One Person’s

Trash is Another’s Treasure When: 15 April, 10am – 16 April, 5pm Folke Köbberling, working with Martin Kaltwasser, has been exploring alternatives to consumerist ideology since 1998 through structural interventions, artistic projects and actions. In this two-day masterclass led by Folke with Critical Practice, Chelsea College of Art and Design became both the resource and site for the collaboratively developed intervention. Monday 15 April 2013

At 10am, Folke gave an introduction to her practice, followed by a wider discussion on art practices, ethics and waste. Blockbuster exhibi tions, trade and art fairs generate an astonishing amount of waste … We then explored the site at

At 2pm, after sifting through our assembled gleanings, noting the padlocked cafe furniture and the in-situ stone seating, we decided – after much discussion around ‘green’ aesthetics, ethics, overproduction, waste, exchange and the possibility of appointing a waste manager (like Health and Safety but more productive) – to make some public tables and benches. In selfassembled groups, we set about inventing seating from waste. Things were repurposed, broken down for materials, and creative destruction unleashed a torrent of energy and enthusiasm. At 5pm, we called it a day. Tuesday, 16 April 2013,

At 10am, we reconvened, and set about making legs, table-tops and finishing the benches. Classes emerged in sawing, drilling, sanding and the safe use of a jigsaw. Experiences were shared, expertise exchanged and we ate lunch together off the first table finished. There were some interesting clashes; at times a ‘trash’ aesthetic dominated the ‘efficient’ use of found materials, and at others, genders divided. At 2pm, more sawing, screwing, sanding – and then in a blur it was done. We had five upcycled public benches, and two huge tables collabo ratively developed. The sun came out, we positioned the new furniture, returned unused materials to the waste streams and opened some wine. We christened the furniture (yes, wine was spilt) and reflected on the workshop – there is a lot to be learned from making things, and even more, from making things together.

Professors

One Person’s Trash is Another’s Treasure, gleaned materials from Chelsea waste streams, 2013

One Person’s Trash is Another’s Treasure, workshop participants christening the new public furniture, 2013

The masterclass was part of Critical Practice’s ongoing research into the political economy of creativity, systems of evaluation and waste. www.criticalpracticechelsea.org Selected exhibitions and projects 2013 Museum Futures. Taipei Biennial 2013 One Person’s Trash is Another’s Treasure (with Critical Practice). London: Rootstein Hopkins Parade Ground 2013 Co-curated Education Not Knowing, part of The Individual and the Organization:

Artist Placement Group 1966–79. London: Raven Row 2012 Nominated for the inaugural Samsung Art+Prize 2012 Year-long research project into the practices of radical art education and exhibition as an educational technology culminated in Prospectus 2011 Self Portrait; Arnolfini. Bristol: Arnolfini

Professors

Rebecca Earley Professor

are attempting to be ‘greener’, but only a few are asking their in-house design teams to innovate as part of this process.

Biography Becky currently divides her working

life between TFRC at Central Saint Martins, the TED project at Chelsea College of Art and Design, and Stockholm where she is a Guest Professor at Konstfack University College of Arts, Craft and Design. She is an award-winning designer, researcher and consultant, whose creative textile and fashion work has been widely exhibited over the last twenty years. Her prints are collected by museums across the globe, including by MFIT and the V&A in London. She is a skilled workshop facilitator and communicator, specializing in the translation of academic and design-led research into commercial contexts. Becky’s recent corporate clients include H&M, VF Corporation, and PPR. Research statement Becky has co-developed

The TEN – sustainable strategies which aim to help designers reduce the environmental impact of textile design, production, use and disposal. Aiming to educate and inspire users to make more informed and innovative decisions, Becky uses design-led methods including ‘layered thinking’ in workshop scenarios to systemati cally reconsider the decision-making process. Recent research projects have begun to evolve The TEN into scalable concepts for design teams to adopt in large corporations in the UK, USA and Sweden. Becky’s practice is now moving into researching the role of the designer as facilitator in creating institutional and cultural change towards more sustainable and circular practices. A recent output The TED Red Box was created

as part of the MISTRA Future Fashion project to test the potential for design teams in large companies to prioritize sustainable design decisions and actions. If 80–90% of a product’s environmental impact is decided at the design stage, before production begins (Graedel et al, 1995), then designers need to know how to rethink their work from the outset. Many fashion and textile design companies around the globe

For the TED Red Box, over 200 ‘inspirational industry ideas’ were researched in the process of curating information to engage fashion design teams in large brands. These were then used as part of a flexible and creative decision-making workshop series. The box contained task sheets and working posters, time-coding stickers (to identify ‘now’, ‘near’ and ‘far’ ideas to action), and pre/post product assessment forms. It also contained blank postcards to allow the teams to message other internal departments asking for help and support in making changes to the company’s current practices. Becky’s role as design facilitator and workshop team leader transformed the creative potential for the box into a live, 12-hour experience for 30 designers in Stockholm during Spring/ Summer 2013. The resulting design concepts and the new knowledge that the research generated will be published in late 2013, as part of TED’s deliverables for MISTRA Future Fashion. www.mistrafuturefashion.com Selected exhibitions 2012 Future Wear, Transformable Packaging: Box-Plus and Box-Less Textile Packaging Concepts: North Carolina 2011–12 Responsible Living, (FutureWear), Earley & Politowicz: curation, prototyping, research direction 2010–11 Trash Fashion … Designing Out Waste in the Fashion Industry. London: Science Museum Published papers 2013 ‘We Make Our Tools, Our Tools Make Us’, with Politowicz, K. Newcastle: Cumulus 2013 ‘Black Hack Chat’, with Ballie J., and von Busch, O. Gothenburg: EAD 2012 ‘Material Futures 01’. London: Textiles Futures Research Centre

Professors

The TED Red Box, 2013

Invited keynotes 2013 The Light Garden. Stockholm: H&M Head Office 2012 Puma Sustainable Design Collective, London 2012 British Consulate, Milan 2011 VF Corporationâ&#x20AC;&#x2122;s CEO retreat at Boston: MIT Media Lab Conference presentations 2012 Design Intelligence; Fashion. New York: Parsonâ&#x20AC;&#x2122;s, The New School for Design 2012 Barriers and Limitations. Copenhagen Business School

2011 Avancell Conference. Gothenburg, Sweden: Chalmers University 2011 Fashion Colloquia London. London Fashion Week, London College of Fashion 2011 Towards Sustainability in the Fashion and Textiles Industry Conference, Copenhagen: KEA Copenhagen

Professors

Catherine Elwes Professor Biography Catherine Elwes co-curated two

landmark feminist exhibitions, Women’s Images of Men and About Time (ICA, London, 1980). She specializes in video and installation exploring landscape, gender and identity. She has participated in many international festivals, her videotapes have been shown on Channel 4 as well as on Spanish, Canadian and French television networks, and her work is archived at LUXONLINE and REWIND. Elwes is the author of Video Loupe (KT Press, 2000) and Video Art – A Guided Tour (I.B. Tauris, 2005); and she has written for publications such as Filmwaves, Vertigo, Third Text, Contemporary Magazine, and Art Monthly. She is currently writing Installa tion and the Moving Image and Landscape and The Moving Image for Wallflower Press/Columbia University Press. She intermittently curates programmes of artists’ film and video, but she principally focuses on her editorship of the new moving image art journal Moving Image Review & Art Journal, (MIRAJ, Intellect Books), supported by an AHRC Network. Research statement My writing ranges from

an interest in landscape and the moving image, through installation to issues of identity and gender, representations of war and warriors, as well as elaborations of the personal in moving image practices from a range of subject posi tions. Recent writing on the domestic spaces of video installation makes an argument for video as an inherently spatial practice; and a chapter on landscape attempts to account for the divergent approaches to imaging land between Aboriginal and non-Aboriginal artists in Australia, and the role of the digital generation of images of nature in the politics of place within Australian moving image. My recent critical writing takes in the claims of post-feminism in the context of Pipilotti Rist’s installations, the role of sound amplification in the work of Stansfield and Hooykaas and mutability in the Peter Campus’ installations.

A recent output The sole-authored book

chapter Figuring Landscapes in Australian Artists’ Film & Video (2013). Drawing on my experience as director of the international touring exhibi tion, Figuring Landscapes, (2009–10) I consider the issues that face both Aboriginal and nonAboriginal artists when, armed with a camera, they confront the mythic landscape of their homeland. This chapter highlights the varying senses of entitlement to ‘figure’ the landscape of the Australian continent as expressed by a range of contemporary artists. The ongoing legacy of colonial invasion forms the backdrop to an examination of the ‘cultural awkwardness’ demonstrated by the descendents of white settlers that led in the last 20 years to a retreat into ‘non-territorial’ digital abstractions of landscape. This contrasts with indigenous Australians’ growing confidence in the appropri ation of film and video as legal artefacts in the ongoing struggle to establish their land rights. Indigeneity is itself a contested term in Australia and this chapter considers a revival of interest among all native-born Australians in Wolfgang Stechow’s contention that ‘nature redeems all’. I ask, are we witnessing a return to a ‘re-particularized’ imaging of landscape among non-Aboriginal artists, such as Sean Gladwell and Lyndal Jones, and how does this relate to Aboriginal appropriation of ‘white’ Australian cultural forms in the work of artists such as Vernon Ah Kee? I make the argument that the totality of this body of work represents a new, truly postcolonial state of landscape film and video that embraces Jones’, optimistic view of the land that ‘we are all simply part of it’. Selected publications 2013 ‘Figuring Landscapes in Australian Artists’ Film & Video’. In: Rayner, J. & Harper, G. (eds) Cinema and Landscape. Cambridge: Cambridge Scholars Publishing 2013 ‘Revealing the Invisible; the Art of Stansfield/Hooykaas from Different Perspectives’. Moving Image Review & Art Journal. vol.2, no.1, pp.124–130 2012 ‘Pipilotti Rist at the Hayward Gallery’.

Professors

Moving Image Review & Art Journal. vol.1, no.2, pp.271–276 2012 ‘Phases, Ruptures and Continuities’. Moving Image Review & Art Journal. vol.1, no.2, pp.174–151 2011 ‘ The Domestic Spaces of Video Installation – Television, the Gallery and Online’. In: Rees, A., Curtis, D., White, D. & Ball, S. (eds) Expanded Cinema: Film Art Performance. London: Tate Publishing 2011 ‘Peter Campus: Optiks’. Moving Image Review & Art Journal. vol.1, no.1, pp.107–110 2011 ‘Provenance in Practice and in Print’. Moving Image Review and Art Journal. vol.1, no.1, pp.3–9

Selected exhibitions and projects 2012 Founding Editor. Moving Image Review & Art Journal. Bristol: Intellect Books 2012 Director of AHRC Artists’ Moving Image Research Network 2012 ‘There is a Myth’ (1984). In: Mother Works. New York: Microscope Gallery 2011 ‘Introduction to Summer’ (1981). In: I Know Something About Love. London: Parasol Unit, Foundation for Contemporary Art 2011 ‘Telling Tales Aboard Bluefin’ (2010). In: Sea Fever. Ouessant: Finis Terrae Festival 2011 ‘Pam’s War’ (2008). In: Figuring Landscapes. Melbourne: Melbourne Cinèmathéque 2011 ‘The Gunfighters’ (1985). In: Shadowboxing. London: Royal College of Art

Travelling Shots: Down Under, Catherine Elwes, video, 7 min 10 sec, 2008

Professors

Stephen Farthing Professor Biography Stephen Farthing studied painting at St Martins School of Art and then at the Royal College of Art. From 1990–2000, he was the Ruskin Master of Drawing at the University of Oxford; then from 2000–04, he was the Director of the New York Academy of Art. He was elected a Royal Academician in 1998 and Honorary Curator of the Royal Academy in 2000. He is currently writing Living Color for Yale University Press with David Kastan. Farthing is involved with a number of drawing research projects with overseas institutions, which include RMIT and Monash University in Melbourne, and developing an exhibition for the Royal Academy of Arts, London on the first Tribal Nations. Research statement Most of my research is geared towards firstly establishing a definition or taxonomy of drawing, then a more complete understanding of drawing as an aspect of general literacy and finally, effective ways of teaching drawing today. There is no strong separation between my activities as a painter and my work as a Professor of Drawing: one feeds the other. Historical and archival research into drawing informs my activities as a painter, just as practical research projects in painting serve to inform my research into drawing. I am currently painting a series of works entitled the Miracle Paintings, that explore the relationship between a text and an image. A recent output For the past seven years,

Stephen Farthing has been engaged in construct ing a definitive drawing of the bigger picture of drawing. He uses the word ‘constructing’ because the thought process surrounding the making of that drawing focuses on ‘joining together’ rather than simply picturing the component parts of what he suspects is infor mation that neither he, nor anyone else, has seen as a single image before. To construct this picture, he organized a series of conferences between RMIT Melbourne and fellow

researchers at UAL. Out of these discussions, his archival research and a series of exhibitions organized in London, Melbourne and New York, he built a picture of drawing that bonded with writing and notation. The outcomes of this project are published at http:// thecentrefordrawingual.com and in The Good Drawing, a CCW Graduate School Bright Publication that asks and hopefully, to some extent, answers the question, ‘What is a good drawing?’. In terms of impact, Farthing’s research has informed the writing of a Drawing Diploma that was first published by the UAL Awarding Body in 2010 and this year has 5000 enrolled students. Selected exhibitions 2013, 2012, 2011 Royal Academy Summer Show. London: Burlington House 2011 Drawing: Interpretation/Translation. Hong Kong: Hui Gallery, New Asia College, The Chinese University of Hong Selected publications 2013 Eleven Paintings You Cannot Paint. Melbourne: Metasenta 2013 Derek Jarman’s Sketchbooks. Co-edited with Webb-Ingall, E., London: Thames & Hudson 2012 The Good Drawing. London: Bright Publications 2011 The Sketchbooks of Jocelyn Herbert. London: RA Publishing Appointment 2012– ongoing: Elected Chairman of the Royal Academy of Arts, Exhibitions Committee

The Miracle of Books (detail), Stehen Farthing, 207 × 173 cm, oil on canvas, 2012

Professors 77

Professors

Eileen Hogan Professor Biography Eileen Hogan is a practising artist and researcher. Her current touring exhibition (New Art Centre, Roche Court; Fleming Collec tion, London; Yale Center for British Art, New Haven) and the accompanying book published by the Fleming Wyfold Art Foundation, focus on the relationship between places and people, and between presence and absence. The exhibitions consist of paintings, drawings, books, photo graphs, archival material and sound recordings, made over a period of 12 years, of Ian Hamilton Finlay and his garden, Little Sparta.

She is on the National Gallery panel for its Associate Artist Scheme, and is a patron of Mindroom, a Scottish charity for children with learning disabilities. Research statement My research explores the relationship between portraiture and biography using oral history as part of the methodology. It is also concerned with the various ways that artists engage with archives. A recent project draws together the book arts collections at Chelsea College of Art and Design, Tate and the V&A in order to establish a common under standing of artists’ books and their place in the art school, the museum and the library. Work with Baring Archive, held at the ING Bank, looks at the relationship between art and money. Establishing the Jocelyn Herbert Archive, an international visual and literary archive, at Wimbledon College of Art has enabled the relationship between theatre design courses and an important theatre archive to be examined. A recent output ‘A Transatlantic Conversation’

understanding, appreciation and care of artists’ books. With the support of an AHRC award, Tate and UAL (I was co-investigator), I established an interdisciplinary research network with the V&A and the British Library. There is a webpage on Tate’s Research Pages (www.tate.org.uk/ research) and audio recordings of the workshops are currently in the process of being archived by Tate’s Library and Archive. I produced one of the two new pieces of artwork for the project, working with Armadillo Systems, to develop A Narrated Portrait, presented at the final work shop at the V&A. A Transatlantic Conversation documents this research and will be published in the Autumn issue of JAB. In 2014, I will co-curate and participate in an exhibition at the YCBA, Artists’ Books and the Natural World, which will concentrate on the connections between depictions of the natural world in contemporary artists’ books and in older rare book and manuscript material, tracing the interest in natural history and gardens from the 16th century to the present. It will consider how both aesthetically oriented activities, such as sketching, collage and cut paper work and more scientific practices of collecting and categorizing specimens in the 18th and 19th cen turies, continue to influence and inspire con temporary book artists. Works will be selected primarily from the YCBA, with loans of key historic works from other Yale Collections and a number of works from the featured cont emporary artists who have responded to specific historic works and places. My work relating to Little Sparta and Ian Hamilton Finlay will be included. www.eileenhogan.co.uk Selected publications

(an article commissioned by the Journal of Artists’ 2013 Bountiful UL 238 Sweet Promise FH 172 Golden Gain FR 59. Paintings and Drawings Books (JAB)) explores the interrelationships by Eileen Hogan Inspired by Ian Hamilton between book art in the US/UK in the context of Finlay’s Garden, Little Sparta, Stonypath, major national collections and the way that Scotland. London: Fleming Wyfold Art digital innovation and the online revolution have Foundation opened up new opportunities to transform our

Professors

Vacant Possession, Eileen Hogan, New Art Centre Roche Court, February 2013

2013 ‘A Transatlantic Conversation’. Journal of Artists’ Books. Autumn issue 2011 500 Portraits. London: National Portrait Gallery Selected exhibitions 2013 Eileen Hogan at Little Sparta. London: Fleming Collection 2013 Vacant Possession. Salisbury: New Art Centre, Roche Court 2010, 2011, 2013 Royal Academy Summer Exhibition 2012 BP Portrait Award. London: National Portrait Gallery; Edinburgh: Scottish National Portrait Gallery; and Exeter: Royal Albert Memorial Museum 2010 Structured Elegance. New Haven: Yale Center for British Art

Selected presentations, lectures and conference contributions 2013 ‘In Conversation with William Feaver’. London: The Princes Drawing School 2011–13 Annual Jocelyn Herbert lectures. Series Coordinator. London: National Theatre 2012 Transforming Artists’ Books Workshop. London: Victoria & Albert Museum 2011 ‘Geographies of Collections: Archival Insights’. Conference presentation. London: Royal Geographical Society Selected commissions and awards 2012 AHRC Digital Transformations Research Development Award. Transforming Artists’ Books with Tate Research 2012 Olympic Artist. All England Lawn Tennis Club Wimbledon

Professors

Nicholas Pickwoad Professor Biography Nicholas Pickwoad trained in bookbinding and book conservation with Roger Powell, and ran his own workshop from 1977–89. He has been an Advisor on book conservation to the National Trust since 1978. He was Chief Conservator in the Harvard University Library from 1992–95 and is now Project Leader of the St Catherine’s Monastery Library Project based at the University of the Arts London, where he is director of the Ligatus Research Centre, which is dedicated to the history of bookbinding. He lectures and teaches extensively on the history of European bookbinding in Europe and the USA. Research statement I am interested in the

history of bookbinding both as the history of a widely-practised and very diverse craft, but also, and more importantly, as a tool for the better understanding of the history of the booktrade, the readership of books and the place of the book within society. The development of new tools for the better recording of bindings in both their technical and decorative aspects, central to which is the creation of a definitive thesaurus of terms in collaboration with specialists across Europe, underpins all my work. A recent output ‘Books for Reading:

Commercial Bindings in Parchment and Paper in the Era of the Handpress’, Great Bindings from the Spanish Royal Collections: 15th–21st centuries, Madrid: Patrimonio Nacional & Ediciones El Viso, 2012, pp.95–122. The invita tion to curate a room of plain, commercial bindings in an exhibition otherwise devoted to lavishly decorated bindings created for the ruling elites of Europe (‘Grandes encuadernaciones de las bibliotecas reales’, Real Biblioteca, Madrid, 25 May–2 September 2012) gave me an oppor tunity to throw a spotlight for the first time in an international exhibition of the sort of books that were actually used. The essay in the ccompanying volume to the exhibition explains how such bindings, far from being all the same, as is often

thought, are in fact remarkably diverse; and indi cate not only the work of bookbinders in different countries (even workshops), but also work created at varying levels of expense. Examples are described of books printed in one country, sewn together for a sale in another, and finally given their covers in Spain, or bought in Spain as bookblocks sewn by one bookbinder and then covered and decorated for their first owners by another, thus presenting graphic evidence not only of the international nature of the book trade, but also of the value of detailed structural analyses to the better understanding of the histories of individual volumes. Selected publications 2012 ‘An unused resource: bringing the study of bookbindings out of the ghetto’. In: Ambassadors of the Book: Competences and Training for Heritage Librarian. IFLA Publications 160. Berlin: De GruyterSaur 2012 ‘The origins and development of adhesive case bindings’. In: Jaarboek voor Nederlandse boekgeschiedenis. Bd.19, pp.117–129 2012 ‘The structures and materials of commercial bookbindings in the Arcadian Library’. In: Provenance and Bookbinding. London: Arcadian Library 2012 ‘Books for reading: commercial bindings in parchment and paper in the era of the handpress’. In: Great Bindings from the Spanish Royal Collections: 15th–21st centuries, pp.95–122. Madrid: Patrimonio Nacional & Ediciones El Viso 2011 ‘Library or museum? The future of rare book collections and its consequences for conservation and access’. In: New Approaches to Book and Paper Conservation. Austria: Horn

Professors

The left cover of the binding on a copy of Albertus de Saxonia, Quaestiones in Aristotelis libros de caelo et mundo. Ed.: Hieronymus Surianus, Venice: printed by Bonetus Locatellus, for Octavianus Scotus, 1492

Professors

Kay Politowicz Professor Biography Kay Politowicz is Professor of Textile Design, co-founder of and Project Direc tor for the Textiles Environment Design (TED) research platform at Chelsea College of Art and Design, part of UAL Textiles Futures Research Centre, which develops strategies for designers to address the impact and life cycle of textile products on the environment by offering a framework for strategic design thinking. She developed the BA Textile Design course at Chelsea, known for its innovation in specialist material processes and for an environmental focus to curriculum developments within the subject. In her current role, she connects the taught curriculum with her research interests to projects, to include the resulting critical thinking as part of core curriculum content. Research statement The development of TED’s

TEN strategy cards forms a significant part of my research and a key tool to devise a new, more effective methodology to research sustainable design strategies. When used together, the cards can serve as practical guidelines to examine, survey and highlight the problem of sustainabi lity and the role of designers in change and innovation. They can also be used as tactics to focus on individual issues, such as the potential for design to affect an environmentally damaging ‘fast fashion’ throwaway culture, which is growing in size and speed throughout societies on a global basis. The provision of workshops is a significant element in encourag ing the interconnection between the strategies, to design ‘disruptive’ interventions to improve the life cycle of products. A recent output Within a range of approaches

designed to increase the lifespan of garments and their material properties, mindful of qualities of durability, repair and material recovery, I have become increasingly interested in ‘designed lifetimes’ for products as part of

approaches to cyclability. My recent connection of new cellulosic fibres with non-woven structures for fashion fabric development has a potential to provide aesthetic and practical prototype garments for fashion or work-wear, proposing new industrial alliances. An ‘all-in-one’ garment was created as a commissioned prototype, for consideration by an outdoor apparel company. It is designed for production with sustainable credentials such as, distributed manufacture with recoverable and recovered fibre content, no launder and avoidance of waste. This intentionally short-life product addresses the environmental impact associated with continuous laundering, which, along with its associated large carbon footprint, is simply designed out. The design of fashion garments with a deliberately restricted lifespan and the cultural acceptance of a product designed to be part of a ‘throwaway’ culture, requires a new development in the popular understanding of sustainability. In time, a new pact between brands and consumers will come forward that blends growth in spending with more responsible messages and materials, which will in the end help fast track sustainable strategies into these markets and promote a future of more responsible consumption. Selected exhibitions 2012 Future Wear, Short Life Garments. WinstonSalem: Millennium Centre, North Carolina 2011–12 Responsible Living, (Future Wear). Earley & Politowicz: curation, prototyping, research direction Published papers 2013 ‘We make our tools, our tools make us’. with Earley, R., Cumulus: Newcastle, UK Appointments 2011 Elected to Management Board of Texprint. 2011–15 Co-investigator (Project 3 in the Consortium) MISTRA Future Fashion. www.textiletoolbox.com

Professors

2011 Principal Investigator in ‘How do we make art schools resilient and sustainable in the current social, economic and ecological climate?’ In: Creative Transition. www. tedresearch.net/research/detail/creativetransition Academic contributions 2010–13 External Examiner MA Textile Design. London: Royal College of Art 2011–15 Guest Professor. Stockholm: Konstfack University College of Art, Crafts and Design

Conference presentations 2011 Towards Sustainability in the Fashion and Textiles Industry Conference, Copenhagen: KEA Copenhagen 2011 Strategies for Sustainable Design, VF Corporation’s CEO retreat at Boston: MIT Media Lab 2011 Shared Strategies: Mapping the Territory. FTC Association Conference, Foresight Centre, Liverpool

Short Life, Kay Politowicz and Sandy MacLennan. Photo: Aaron Tilley

Professors

Stephen A. R. Scrivener Professor Biography Professor Stephen Scrivener

studied Fine Art at undergraduate and masters level, the latter at the Slade School of Fine Art, University College London, where he began to use the computer as a means of art production. Subsequent to the Slade, Stephen completed his PhD in a computer science department and thereafter worked as a lecturer and researcher in various university computer science depart ments. During his research career, he has com pleted funded research projects; produced over 175 research outcomes; supervised 32 research degree students to completion and examined 45. Stephen has participated in the research context in a range of functions; he is the founding editor of the International Journal of Co-Design, published by Taylor and Francis, and an elected fellow of the Design Research Society. Research statement Since 1992, when I returned to the art and design academy, my primary research has been concerned with the theory and practice of practice-based research and I have reported the outcomes of this inquiry in a series of journal papers and book chapters. My thinking on this topic progresses from the proposition that the activities of art, design, etc., already contain the activity of research, under stood as that function that expands each field’s potential and relevance. I have now begun to produce artworks as a means of complementing what has previously been a theoretical inquiry. A recent output In a circular letter to the

governors of Her Majesty’s Gaols, dated Decem ber 1854, James Anthony Gardiner, Governor of Her Majesty’s Gaol, Bristol, argued for the use of photography in the administration of criminal justice. The problem, as he saw it, was that there was no way of knowing whether an offender presented to his gaol for the first time had committed a previous crime elsewhere in the United Kingdom. Although Gardiner’s plan was not immediately adopted nationally, the

Prevention of Crimes Act (1871) enforced the use of photography for identifying criminals. Many of the thousands of prison photographs that followed are now held in the British National Archives, and have already been copied and uploaded onto websites, such as ancestry. co.uk, thus adding to the already large number of mugshots, web galleries, blogs and newspaper articles dealing with the subject: the power of this material seems to be what it suggests about the characters of the depicted individuals and/or the times in which they lived. Redactions 1:1 – 1:2 is a work in two parts that plays upon the two modes of meaning-making outlined above: Redactions 1:1 is a poster, which invites the viewer to participate in a process of identification (in the gallery space, the poster is further redacted so as to present an additional problem to the viewer); Redactions 1:2 is another booklet, which also plays on the possibilities of suggestion. Selected publications 2012 ‘Projective artistic design making and thinking: the artification of design research’. In: Contemporary Aesthetics. Special vol.4. www.contempaesthetics.org/newvolume/ pages/article.php?articleID=638 2011 ‘Part 1: Reflections on interactive art and practitioner research: establishing a frame’. In: Candy, L. & Edmonds, E. (eds) Research and the Creative Practitioner. Farringdon: Libri Publishing 2011 ‘Part 2: Reflections on interactive art and practitioner research: interpretation’. In: Candy, L. & Edmonds, E. (eds) Research and the Creative Practitioner. Faringdon: Libri Publishing Exhibitions 2013 Recalculating. London: Triangle Space. 2011 Csepel Works. Budapest: Labor Gallery Acquisitions 2011 Eighteen computer-generated drawings, London: Victoria & Albert Museum

Redactions 1:1, Stephen Scrivener, offset print on paper, digital print on paper, masking tape and Post-it notes, 84.1 Ă&#x2014; 84.1cm (approx), 2013

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Professors

Carol Tulloch Professor Biography Carol Tulloch is a writer and curator

with a specialism in dress and black identities. She is a member of the Transnational Art, Identity and Nation Research Centre (TrAIN) and is the TrAIN/V&A Fellow in the Research Department of the Victoria & Albert Museum. Tulloch was the Principal Investigator of the Dress and the African Diaspora Network, an international endeavour to develop critical thinking on this subject. Tulloch’s knowledge of this area of study has led to appearances on television and radio in programmes such as Tales from the Front Room, BBC4 (2007) and Good Golly, Bad Golly, BBC Radio 4 (2010). Research statement My current research

focus is on the telling of self through the styled black body. This includes cross-cultural and transnational relations, cultural heritage, auto/ biography, personal archives and what I call style narratives. I combine these approaches to consider how black people negotiate their sense of self within various cultural and social contexts locally, nationally and internationally. Understandably, my work includes other social and cultural groups to compare experiences, and/or cultural collaborations with people of the African diaspora that enables me to develop a dialogue in the telling and place of individuals and groups. Additionally, the experiences of lives in different situations, the home, and making things have also informed the expansion of my research. A recent output In 2010, I curated the

exhibition Handmade Tales: Women and Domestic Crafts at the Women’s Library, London. The show was interested in the practices of the ‘amateur’ craftsmaker. The exhibition considered how domestic crafts can be a space to channel different life experiences. To illustrate, some fifty per cent of the exhibition captions were written by lenders of objects as they related to their life histories. In order to demonstrate the cultural

influences that have contributed to the vast practice that is domestic crafts in Britain, the show included a range of cultures – English, Caribbean, Romani, Jewish, Indian and Scottish, and age groups, with 10–80 year old women and men from different strata of society from the mid-19th century to the present. A prime aim of the project was to give this area of craft practice cultural capital. The exhibition developed out of critical thinking of earlier research projects, notably the research activities of the Dress and the African Diaspora Network. This resulted in the special issue ‘Dress and the African Diaspora’ for the journal Fashion Theory, which I edited. In my ‘Letter from the Editor’, I encouraged readers to con sider the research benefits of the complex net work of traceable associations between networks of objects-people-geographies associated with dress and the African diaspora, which are equally valid to other areas of dress studies, an approach I applied to Handmade Tales and expanded to consider objects-people-geographies-making. Selected publications 2012 A Riot of Our Own. London: TrAIN Research Centre, Editor and contributor 2012 ‘Take a Look at it From My Point of View’. In: Jackson, T. and Watson, G. Kimathi Donkor: Queens of the Undead. London: Iniva 2012 ‘It Takes a Nation of Millions to Hold us Back: Freedom and the Dynamics of the African Diaspora’. In: aus dem Moore, E. (ed.) In the Seams: The Aesthetics of Freedom Expressed. Stuttgart: Institut für Auslandsbeziehungen 2011 ‘Buffalo: Style with Intent’. In: Adamson, G. and Pavitt, J. Postmodernism: Style and Subversion, 1970–90. London: Victoria & Albert Museum 2011 ‘Ring Italian, 1650–1700’. In: Spotlight on Africa and the Diaspora: A Guide to Black Heritage Objects in the V&A’s Collections. London: Victoria & Albert Museum 2011 ‘Champagne Glass’. In: Ideal Home. London: CHELSEA space

Professors

Temporary Hoarding, No.6, Summer 1978. Anti-racist skinheads, Hoxton, London, 1978. Photo: Syd Shelton

Selected curatorial projects 2012 ‘Picture this the “black” curator’. Curators 2012 A Riot of Our Own Exhibition. Pula: in Conversation 6: Investigating a Curatorial Galerija Makina Position within the Paradoxes of 2012 International Fashion Showcase. Botswana, Multiculturalism: Parallels Between the UK Nigeria, Sierra Leone and London and Sweden 2010–11 Handmade Tales: Women and Domestic 2011 ‘Freedom is a road seldom travelled by the Crafts. London: The Women’s Library multitude’. Keynote. In: The Seams: The Aesthetics of Freedom Expressed conference. Johannesburg: Center for Historical ReSelected presentations and conference papers enactments 2012 ‘Disturbing pasts: memories, controversies 2011 ‘A reflection on the inclusion of black and creativity conference’. Insert Here: studies in design and art education’. Black Curating Difference. Vienna: Museum of Studies in Art and Design Education: Past Ethnology, Vienna Gains, Present Resistance, Future Challenges. 2012 ‘Handmade tales: curating domestic craft New York: Parsons the New School for practice’. Disruptive Difference: Transnational Craft Dialogues. The Shape of Things. Design Leicester: School of Museum Studies, 2011 ‘When clothes speak: the fabric of our University of Leicester heritage’. London: Royal Academy of Arts 2012 ‘Harmonious possibilities: the use of textiles in the exhibitions a riot of our own Awards and handmade tales: women and domestic 2011 British Academy Small Research Grant crafts’. Social Fabric Symposium. London: Iniva

Professors

Chris Wainwright Professor Biography Professor Chris Wainwright is

Head of Camberwell, Chelsea and Wimbledon colleges and Pro Vice Chancellor of UAL. He is also Past President of The European League of Institutes of the Arts (ELIA), an organization representing over 350 European Higher Arts Institutions. He is currently a member of The Tate Britain Council and Chair of the Board of Trustees of Cape Farewell, an artist-run organization that promotes a cultural response to climate change. Chris Wainwright is also an active professional artist and curator working in photography, installation and video, whose current exhibitions and projects include: Futureland Now, at the Laing Art Gallery in Newcastle; A Catalogue of Errors, a solo show at The Diawa Foundation in London in 2013; Troubled Waters at the KUANDU Museum of Fine Art, Taipei, Taiwan; Rise, a video installation for the Heijo-kyo temple as part of the anniversary celebrations for the 1300-year city of Nara, Japan; and What has To Be Done, a photo/performance event for Aldeburgh Arts 2011, also profiled at the 2013 Venice Biennale. His work is currently being shown as part of the UK touring exhibition Fleeting Arcadias – Thirty Years of British Land scape Photography from the Arts Council Collection. He is currently co-curating Unfold, a Cape Farewell international touring exhibition of work by artists addressing climate change. Chris Wainwright’s photographic work is held in many major collections, including the Victoria & Albert Museum, London; The Arts Council of England; Bibliothèque Nationale, Paris; the Polaroid Corporation, Boston, USA; and Unilever, London.

The work is informed by a direct response to place and is often the result of an intervention, a temporary action or construction made for the camera as a unique form of witness for recording light. I am interested in the cause-and-effect relationship between urban and unpopulated spaces, and the way light is deployed as a form of illumination, communication, invasion and pollution. Overall, I have a concern for represent ing the issues and effects of environmental change through my direct presence, actions and journeys, always undertaken in darkness; and the way that this can be part of a strategy of image-making that does not rely on journalistic or didactic approaches but has its roots more in the pictorial traditions of painting. A recent output A Catalogue of Errors: I have

been working with semaphore as a semi-obsolete signalling system for a number of years and incorporating it into a series of photographic per formances and actions. All of these works are made at night and are either sited adjacent to places where there have been natural disasters or at environmentally fragile sites caused by human intervention and exploitation. Much of the photographic/performance work in The Catalogue of Errors exhibition at The Diawa Foundation made in the Tohoku Region of Japan, prior to and after the 2011 Great East Japan Earthquake and tsunami, has been produced as a series of semaphore messages and texts relating to the earthquake and its aftermath. In particular, the sign for ‘error’, the waving up and down of both hands, is a prominent image, performed at sites of mass destruction.

Selected publications 2013 Troubled Waters. (ed.) Camberwell Press/ KUANDU Museum, Taipei 2013 A Catalogue of Errors. Monograph publication, London: Diawa Foundation Research statement I work primarily through 2012 Expedition. (ed.) London: Bright photography and video as a means of addressing publications 2011 In Light. Monograph publication. issues related to the effects of light, both natural Amsterdam: Castrum Peregrini and artificial, in urban and remote environments.

Professors

– hoku Region, Japan, digital print, 2013 Error at Kesennuma, To

2010 Unfold. Wainwright, C. & Buckland, D. (eds) London: Cape Farewell. Selected exhibitions 2013 Troubled Waters. Taipei, Taiwan: KUANDU Museum 2013 A Catalogue of Errors, London: Diawa Foundation 2012 Futureland Now. Newcastle upon Tyne: Laing Art Gallery 2012 Art and Science. Artist and guest curator. Beijing: National Museum of Science and Technology 2011 What Has To Be Done. Photo/performance. Aldeburgh: Aldeburgh Arts 2011 Selected appointments and memberships 2009–13 Chair of Trustees, Cape Farewell 2008–13 Member, Tate Britain Council 2012–13 Board Member, Asian League of Institutes of the Arts (ALIA) 2009–13 Jury Member for Global Design Cities Organization, Seoul, South Korea

Professors

Toshio Watanabe Professor Biography Professor Toshio Watanabe is Director of the Transnational Art, Identity and Nation (TrAIN) research centre. He studied at the Universities of Sophia, Tokyo, London and Basel, where he completed his PhD. He taught at the City of Birmingham Polytechnic, where he ran the MA in History of Art and Design course. Toshio has worked at Chelsea College of Art and Design since 1986, initially as the Head of Art History and later as Head of Research. He is researching art history of the period 1850–1950 and is interested in exploring how art of different places and cultures intermingle and affect each other. Current external roles include acting as Vice President of CIHA (Comité International d’Histoire de l’Art). Research statement The main focus of my

research is transnational interactions of art with an emphasis on the issues of modernity and identity. I am particularly interested in exploring this not just in bilateral, but also in multilateral relationships, such as those between Japan, China, Taiwan, India, Britain or the USA within the time span between 1850–1950. My interest in transnational relationships covers all media, but particularly architecture, garden design, watercolour painting, photography and popular graphics. Particular emphasis is put on the con sumption of these art forms locally and globally. A recent output Projects being undertaken

include the following themes: the theory of modern landscape and imperial architecture in Japan, 1880s–1940s; the history and reception of the modern Japanese garden; the construction of Japanese Art History; British Japonisme. I was Principal Investigator for the AHRC-funded research project Forgotten Japonisme: Taste for Japanese Art in Britain and the USA, 1920s–1950s, which began in 2004 and ended in 2010. This project, with international researchers from Japan, USA and the UK, considered, among other

questions, the received view of the West as the sole purveyor of modernity in art, Japanese inspiration within the development of moder nism in the West, and the relationship between the taste for Chinese and Japanese art during this period. The boundaries of the notions of the West and also of Japonisme were tested. This project has broken new ground in estab lishing that the taste for Japanese art indeed continued throughout the period more or less without a break even during the war period. However, it has also shown that the taste for Japanese art is not monolithic but varied and multifaceted. It also questioned and pushed hard at the definition of the term ‘Japonisme’, which is derived from the conditions of 19th-century France. A new term, ‘Transwar Japanism’, is proposed by not only recognizing a coherent periodization through adopting the term ‘Transwar’, but also by giving geographical agency to the bearers of the taste through calling it ‘Japanism’. Selected publications 2013 ‘Josiah Conder (1852–1920)’. In: Hugh Cortazzi (ed.) Britain & Japan: Biographical Portraits, vol.8. Leiden and Boston: Global Oriental 2013 ‘1910 Japan-British Exhibition and the Art of Britain and Japan’. In: Hotta-Lister, A. & Nish, I. (eds) Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives. Leiden and Boston: Global Oriental 2012 ‘Modern Japanese Garden’. In: Rimer, T., (ed.) Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000. Honolulu: University of Hawai’i Press 2012 ‘Forgotten Japonisme’. In: Moreno, P.C. & Dennis, A.T. (eds) La creación artística como puente entre Oriente y Occidente. Madrid: Grupo de Investigación Completense Arte de Asia, Grupo de Investigación ASIA

Queen Liliâ&#x20AC;&#x2122;uokalani Garden, Hilo, Hawai'i. Photo: Toshio Watanabe

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Readers

Michael Asbury Reader

neous currents of modern art that ultimately have divided the critical reception of the work.

Biography Dr Michael Asbury is Reader in the

As we near the centenary of the artist’s birth in 1914, this exhibition, rather than proposing the definitive interpretation of how the Carretél unravels itself throughout the artist’s production, aims to provoke a revision, or at the very least a reassessment of this significant theme in Iberê’s work. The formal progression that the Carretél was submitted to is investigated not so much as an aesthetic fact but instead through the art historical references that most likely led to its appearance and subsequent metamorphosis.

History and Theory of Art, and Deputy Director of the Research Centre for Transnational Art, Identity and Nation (TrAIN). He concluded his PhD on the work of Helio Oiticica at UAL in 2003 and has since become an internationally recog nized specialist in modern and contemporary art from Brazil. He has published extensively and has curated numerous exhibitions in the UK, Europe and Latin America. Research statement The geopolitical expan sion of the canons of art beyond the traditional hegemonic Euro-American axis – a fact corro borated by the proliferation of international biennials and art fairs, as well as by the revised and enlarged scope of interests expressed by auction houses – raises the question as to whether art historical precedents, imbued by radicalism and the rhetoric of postcolonial and/or cultural studies, have not in fact become mere means of legitimizing certain forms of contemporary practices. My practice, both as writer and curator, is founded on the rigour of art historical research and a critical engage ment with contemporary art that traverses com mercial, academic and museological domains. A recent output Iberê Camargo: The Spool,

my exhibition and accompanying book/ catalogue. Fundação Iberê Camargo, Porto Alegre. March 2013 to March 2014. Undoubtedly, the most recurrent theme within the oeuvre, consensually acknowledged as marking the artist’s maturity, the Carretél (Spool), according to Iberê Camargo himself, had been brought from the depths of his child hood memories to the surface of his canvases. Yet, if its significance as a theme pertained to its power to bridge innocence and maturity, its ambivalence between symbolic function and formal autonomy or figuration and abstraction, invite elliptic relations with the contempora

Selected publications 2013 Iberê Camargo: O Carretél, meu personagem. Porto Alegre: Fundação Iberê Camargo. Curated exhibition and single authored book 2013 ‘Some notes on Abraham Palatnik’s kinechromatic apparatus’. In: Tjabbes, P. and Scovino, F. (eds) Abraham Palatnik: a reinvenção da pintura. Brasilia: Centro Cultural Banco do Brasil 2013 ‘Angelo Venosa, deixo que falem o que quizerem’. In: Angelo Venosa: Febre da Materia. São Paulo: Cosac Naify 2013 ‘Miguel Palma: man, machine and motion: night, night, Mr Tenjag’. In: Miguel Palma: Private View, the Jaguar Project. Coventry: Mead Gallery, Warwick Arts Centre 2013 ‘Daniel Senise, 2892: entre o ser e o nada, o espectador’, Revista Porto Arte. Porto Alegre: Instituto das Artes, UFRGS 2012 ‘Viver é muito perigoso and heterotopias cotidianas’. In: Chiarelli, T. (ed.) Shirley Paes Leme. São Paulo: Editora Alfaiatar. pp.25–45 and 195–203 2012 ‘Anna Maria Maiolino: utopias and sub jectivitides’. In: Geraldo, S. C and da Costa, L. C. (eds) Narrativas, Ficções, Subjetividades. Rio de Janeiro: Quartet, pp.93–111 2012 ‘Maria Nepomuceno: money for old rope’. In: Wright, L. (ed.) Maria Nepomuceno: Tempo para Respirar. Margate: Turner Contemporary, pp.33–44

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2012 ‘The uroborus effect: Brazilian contempo rary art as self-consuming’. In: Martins, S. B. (guest ed.) Third Text, vol.26, no.1 2012 ‘Antonio Manuel: the radicalism of a cordial man’. In: Rangel, G. (ed.) I don’t want to represent – I want to act. New York: The Americas Society, pp.26–43 2012 ‘Franz Weissmann: mitos vazios’. In: Lontra, M. (ed.) Franz Weissmann: a síntese e a lírica construtiva. Rio de Janeiro: Centro de Arte Hélio Oiticica, pp.22–27 2012 ‘Art under dictatorship by Claudia Calirman’. Book review, Art in America, September, 2012 Selected papers 2013 ‘Some problems with the notion of hybri dity, negotiating art historical narratives’, Berlin, Germany: Kunsthistorisches Institut, Freie Universität Berlin 2013 ‘Hélio Oiticica and Brazilian popular culture’. Guest speaker, Canada: Université du Québec à Montréal (UQÀM) 2013 ‘Modernism in Latin America and the great hybridity mix up’. Keynote. Encuentros Transatlánticos: Discursos Vanguardistas en España y Latinoamérica, Madrid, Spain: Reina Sofia 2013 ‘The monochrome as historical painting’. Connecting Art Histories/Grounds for Comparison: Neo-vanguards and Latin American/Latino Art, Bogotá, Colombia: Universidad Jorge Tadeo Lozano, 2013 ‘2892 de Daniel Senise: entre o ser e o nada, o espectador‘. Keynote. Symposium InED, Portugal: Escola Superior de Educação, Politecnico do Porto 2013 ‘Displays of/from the other’, Kultursekretariatet, Sweden: Västra Götalandsregionen, Göteborg 2013 ‘Raymundo Colares: hybridity is a myth’. Global Pop International Symposium, London: Tate Modern 2012 ‘Hélio Oiticica: O Q faço é música’. Instituto de Estudos Avançados (IEA), São Carlos, Brazil: Universidade de São Paulo, USP

2012 ‘Hélio Oiticica and the hagomoro noh theatre play’. Keynote. Detours IV – Modus Locandi, Guimarães, Portugal 2012 ‘Contaminações no modernismo brasileiro’, Vitoria, Brazil: Ciclo de Palestras do Museu de Arte do Espirito Santo (MAES) 2012 ‘Anna Maria Maiolino: a biblioteca infinita e a fome de ler’. Projeto Politica das Artes, Recife, Brazil: Fundação Joaquim Nabuco 2012 ‘Concrete-neo-concrete: revisionism and historiography within the Brazilian constructivist avant-gardes’. Constructivism and Beyond – Brazilian Art in the 1950s and 1960s, Berlin: Freie Universität Berlin, Kunsthistorisches Institut 2012 ‘Hélio Oiticica: what I do is music’. America Latina, extranjeria y la pertenencia cultural. Artes visuales y música en los años sesenta. Session 391, Latin American Studies Association annual congress, San Francisco 2012 ‘Brazilian contemporary art as selfconsuming’. History without past: counterimages of Coloniality Spain/Latin America, Madrid: Centro 2 de Mayo 2012 ‘Franz Weissmann between concrete and neoconcrete’. Centro Hélio Oiticica, Rio de Janeiro

Iberê Camargo: O Carretél, meu personagem (exhibition views), Fundação Iberê Camargo, Porto Alegre

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David Cross Reader

kilogramme as the mass of one litre of pure water at the melting point of ice, 0° centigrade.

Biography As an artist, I began collaborating with Matthew Cornford while studying at Saint Martin’s School of Art and Design in 1987 and graduated from the Royal College of Art in 1991. As a Reader in art and design, I take an inter disciplinary, research-oriented and socially engaged approach to visual culture.

Because one sheet of A0 is one square metre, the weight of paper can be measured in grammes per square metre (gsm), allowing accurate calcula tions for mass production. As a key element of international standardization under modernity, the A4 page became so ubiquitous as to appear neutral, and perhaps to acquire an ideological invisibility. Yet its success is aligned with bureau cracy, in which production is subordinate to administration, and creativity is in constant struggle with the alienation that is a reaction to control.

Research statement My research, practice and teaching are informed by a critical engagement with the relationship between visual culture and the contested ideal of ‘sustainable’ development, which masks the accelerating ecological crisis. I am interested in the instrumental potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical proposi tions that may stimulate the kind of debate that is at the heart of active social agency.

The block of marble would be cut from a quarry on the Greek island of Paros. Parian marble has been prized for its purity, and used for master pieces of classical Greek sculpture, as well as historic buildings and structures, including the tomb of the French Emperor Napoleon.

A recent output Praxis presents a visual

resemblance between a slab of stone and a stack of A4 paper to invite reflection on a transition between, or fusion of, different forms of power. The A4 page is part of a system that combines the principles of classical geometry with the metric system of measurement, to correlate scaling and multiplication. The proportions of all pages in the system are a diagon, a geometric construction of a square and an arc described by its diagonal. This produces a rectangle in which the ratio of the short side to the long side is one to the square root of two. Thus, two sheets of A4 placed side by side are the same size and proportion as one sheet of A3, and so on, so that 16 sheets of A4 make A0. The revolutionary republic of France devised and established the metric system. In 1795, one metre was defined as one ten-millionth of the distance from the North Pole to the Equator, measured along the meridian passing through Paris. One litre was defined as the volume of a cube with edges of ten centimetres, and one

In Ancient Greece, the philosopher Aristotle proposed that there were three basic activities of man: Theoria, Poiesis and Praxis, which have truth, production, and action as their respective purpose or end. Today, when economic, social and political tensions presage transformation and destruction, this work draws on the symbolic identity of Athens as the birthplace of popular sovereignty and direct democracy. Selected publications 2013 ‘Mobilizing uncertainty’. In: Fortnum, R. and Fisher, L. (eds) On Not Knowing. London: Black Dog Publishing 2013 ‘Are you looking for business?’ In: Mallow, T. (ed.) The Cultural Review nos. 2, 3, 4, 6, 8 2012 ‘Bonjour Tristesse’. In: Rawes, P. (ed.) Relational Ecologies. London: Routledge Selected works 2013 Praxis Beton 7. Athens Center for the Arts 2013 Timeless. Berlin: University of the Arts 2012 The White Bear Effect. Everything Flows. Bexhill: De La Warr Pavilion

Praxis, (maquette), Cornford & Cross, marble block the size of a ream of A4 paper. Proposal for The End of Art. Curated by Euripides Altintzoglou. Athens, Greece, July 2013

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Mark Fairnington Reader Biography Mark Fairnington, Reader in Painting at Wimbledon College, is an artist who has shown extensively in museums and private galleries in the US and Europe. Collaborative research projects with scientists have included Membracidae, funded by the Wellcome Trust; and an exhibition of Fairnington’s work, Fabu lous Beasts, was mounted at the Natural History Museum, London in 2004. In 2008, he was one of ten artists invited to produce designs for a ceiling in the NHM to mark the bicentenary of Charles Darwin; and his work was also included in A Duck for Mr Darwin – Evolutionary Thinking and The Struggle To Exist at the Baltic Centre for Contemporary Art. Unnatural History, January– March 2012, was a major retrospective exhibition of Fairnington’s work held in two venues – the Kunstverein and Galerie Peter Zimmermann, Mannheim, Germany. The exhibitions contained 51 works made during the period 1999–2012. Research statement Mark Fairnington’s

research has sustained a visual examination of the government and habits of speciation. Whether it be large-scale paintings of mounted insects, taxidermy displays of birds, portraits of prize stud bulls or the artistic and scientific language of flowers, his interest is resolutely in the eccentricities of the one required to stand in for all: the specimen. The research investi gates museum collections, their history, how specimens are housed, stored and displayed, and some of the possible relations between art and science. His paintings represent how we see nature through the diverse specimens held in these collections and how this seeing has changed over the centuries. He has found a space where taxonomical requirements have emerged in relationship with artistic ones. For him, the improvisatory role of painting, its capacity to produce plausible visual knowledge, is what makes this space and which allows his paintings to take on a collective form;

a series of nuanced allegories on the overlapping condition of democracy and typology. The natural world is like raw footage that the artist can script and reframe into a narrative of his own, using the syntax of the fantasist with as much veracity as that of the scientist. A recent output The Nature of the Beast / Our

Creatures, New Art Gallery, Walsall, 26 April – 30 June 2013. The Nature of the Beast was a group exhibition that featured Fairnington’s series of six life-sized paintings of prize-winning bulls. The process of making the paintings involved taking hundreds of photographs across the surface of the live animals, using these to build an impression of the texture and physicality of the animal. On inspection, the painting reveals itself as a construct of a range of fictions, not least man’s interventions regarding the breeding of these animals. The field is Art and Animals, and the key concern for the research is how representations of animals through painting, photography and taxidermy can describe, confront and challenge attitudes towards the natural world and the animal kingdom. Each of the artists makes works which involve an intensive scrutiny of animals and nature, as well as a critical engage ment with the ways in which we have attempted to understand and control the natural world. Within the same field and programme of work, Fairnington curated an historic exhibition entitled Our Creatures. This exhibition explored portraits of animals and offers glimpses into the ways in which artworks have described different relationships between human beings and animals. These are images and objects that depict, in particular, the domestic and local relationships between people and animals, and show how these can be pragmatic, eccentric, brutal and loving. Art works and objects were borrowed from Manchester City Art Gallery, Leeds Museums & Galleries, Compton Verney, Birmingham Museum & Art Gallery and the Horniman Museum.

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Doncombe Aga Khan, Mark Fairnington, oil on canvas, 235 × 342 cm, 2011

Publications 2013 The Nature of the Beast. Robinson, D. Walsall: The New Art Gallery, Walsall 2012 Unnatural History. Mannheim: Peter Zimmermann Gallery 2011 Flora. Dublin: Oliver Sears Gallery 2011 Art and Animals. Aloi, G. London: I.B.Taurus One person exhibitions 2012 Unnatural History. Mannheim: Galerie Peter Zimmermann 2011 Flora. Dublin: Oliver Sears Gallery

Two person/group exhibitions 2013 The BP Portrait Award. London: National Portrait Gallery Aberdeen: Aberdeen Art Gallery; and Wolverhampton: Wolverhampton Art Gallery 2013 The Nature of the Beast. Walsall: New Art Gallery Walsall 2013 Drawing Biennial. London: Drawing Room 2011 Auction Room. Newcastle: Globe Gallery 2011 Drawing: Interpretation/Translation. Powys: The Drawing Gallery 2011 London Calling. Mannheim: Peter Zimmermann Gallery 2011 40 Artists 80 Drawings. Devon: The Burton Art Gallery and Museum

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James Faure Walker Reader Biography James Faure Walker studied at St Martins and the RCA. He co-founded Artscribe magazine in 1976, and edited it for eight years. Since 1988, he has incorporated computer graphics in his painting. His Painting the Digital River: How an Artist Learned to Love the Computer, (2006), won a New England Book Show award. Recent exhibitions include Jerwood Drawing Prize; Digital Pioneers at the V&A; Imaging by Numbers, Block Museum, Illinois; Siggraph, USA; DAM Gallery, Berlin; John Moores. In 1998, he won the Golden Plotter at Computerkunst, Gladbeck, Germany. In 2013, he won the Royal Watercolour Society Award.

Achieving fluency in digital painting, improvizing and making radical changes at speed, means doing without a step-by-step process of weighed decisions. You need sufficient technical mastery to dart this way and that. Those manuals stressed the need for constant practice, and for observing the details of the world around you. Their principles, even the dubious ones, can be applied to learning software. They explained materials and methods without jargon. Artists demonstrated ‘lessons’ with page after page of illustrations. They targeted the amateur, the end-user. Their layout was like the ‘friendly’ interface of the draw and paint programmes that emerged in the 80s: toolbox, palette, menu and options. That connection could brighten the teaching of drawing today.

Research statement I have been collecting

early 20th century drawing manuals and now have well over a hundred. I have published a dozen essays on the topic, and plan a book on this strange world of the forgotten drawing manual. How to explain this fascination? It is nostalgia, and respect for the straightforward instructions, the illustrations, the unwavering certainty, the rejection of ‘modern’ art, the passion (rival methods denounced as ‘evil heresies’), and the peculiar tasks they set (more vases in difficult positions). Can they still teach us to draw? A recent output I have undertaken some

unusual commissions – a print for the South African 2010 World Cup, a painting for a multifaith prayer room in a shopping mall, and a print for the 2012 Olympics that could be cut into 120 numbered tickets for a London Group auction. You cannot always predict how a picture will be used. I have studio routines, daily draw-ing exercises, switching back and forth between watercolour, oil and digital paint, and these build up a stock of motifs and ideas for colour and pattern. One commission demanded six large pictures, all to be the same size. Thanks to software, I could adapt existing designs to the required proportions in a couple of days.

Selected publications 2013 ‘Learning to draw from forgotten manuals’. Presented at: Drawing in the University Today. Porto: University of Porto 2012 ‘Getting closer to nature: artists in the lab’. In: Ursyn, A. (ed.) Biologically-inspired Computing for the arts: scientific data through graphics. USA: IGI Global 2012 ‘A drawing book for digital eyes’. Linha do Horizonte. Lisbon: Technical University 2011 ‘Drawing books and digital devices’. In: Drawing Connections – China: Risk and Revolution. Dalian: Lu Xun Academy of Art; Sydney: International Drawing Research Institute, College of Fine Art, UNSW

Another Dream of Summer, James Faure Walker, archival inkjet print, 2013

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Yuko Kikuchi Reader Biography Dr Yuko Kikuchi was born in Tokyo and educated in Japan, the USA and UK. After completing a BA in English and American Literature, and an MA in American Studies, she worked at the School of East Asian Studies, University of Sheffield as a Modern Japanese Studies specialist. She joined UAL in 1994 to complete a PhD on the Mingei movement and is currently supervising research students and conducting research on postcolonial trans national issues as a core member of TrAIN, in her capacity as a specialist in design history and visual culture studies. Research statement I have pursued my interest in the nature of modernities in transnational visual culture and design in East Asia, through my key publications on the Japanese and trans national Mingei movement (Japanese Moder nization and Mingei Theory: Cultural Nationalism and Oriental Orientalism, 2004); and on moder nities in colonial Taiwan (Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, 2007). Through the AHRC funded joint project, Translating and Writing Modern Design Histories in East Asia for the Global World, I’ve been working on developing inter-Asian studies by building networks of design historians in East Asia (Japan, Korea, and China/Taiwan/ Hong Kong). I feel passionate about the need to join up the studies in these areas of East Asia, which, although politically and linguisti cally disconnected, share common cultural roots; while at the same time ensuring that the outcomes of these studies will engage with Anglo-American academia. A recent output My current research output

falls into three main areas: 1. transnational visual culture histories; 2. globalization of design history studies; and 3. Inter-East Asia design histories and historiography. Studies on transnational activities by such figures as Kitagawa Tamiji (Japan-USA-Mexico), Yen Shui-

Long (Taiwan-Japan-France) and Russel Wright (US-East and South-east Asia) have been either neglected, or exist as partial studies from a single national perspective; thus my research intends to contribute to new transnational visual culture history studies. Russel Wright and Asia is the British Academy funded book project that investigates American designer Russel Wright’s design intervention in Asia (Japan, Taiwan, Hong Kong, Vietnam, Thailand and Cambodia) during the Cold War period. This research investigates the interrelationship between postwar American and Asian design identities, American Occupation and Cold War cultural policies in Asia, as well as understudied local histories of Asian design development. I am contributing a series of outputs that take forward its vision of globalizing the all-too-Anglophonecentred discipline of Design History. My works raise questions and fuel the debate on the frame work and methodology for ‘global’, the issues of translation, and the untranslatable/unfitting elements of modernities (for example, crafts). By providing a rich set of varied case studies (Yen Shui-Long, design and designers in the Japanese Empire, including Manchukuo and Taiwan), I am working towards building a study framework for the emerging field of East Asian design histories, and writing a modern inter-East Asian design history through a network of scholars. Selected publications 2012 ‘Questionable translatability: the contested notion of “Japaneseness” in the craft and craft design of the Japanese Empire’. In: Farias, P. L., Calvera, A., Braga, M. & Schinacariol, Z. (eds) Design Frontiers: Territories, Concepts, Technologies. São Paulo: Blucher, pp.468–471 2012 ‘The Cold War design business of Russel Wright and JDR 3rd’. In: The Rockefeller Archive Center publication 2012 ‘Shui-Long Yen and vernacularism in the development of modern Taiwanese crafts’. In: Shui-Long Yen: The Public Spirit, Beauty in the Making, Taipei: Taipei Fine Arts Museum (in Chinese and English)

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2012 ‘re: focus design – design histories and design studies in East Asia’ (Part 3: Conclusion). In: Journal of Design History. vol.25, pt.1, pp.93–106 2011 ‘Visualising oriental crafts: contested notion of “Japaneseness” and the crafts of the Japanese Empire’. In: Shigemi Inaga (ed.) Question of Oriental Aesthetics and Thinking: Collecting Visions of ‘Asia’ under the Colonial

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Empires. Kyoto: The International Research Center for Japanese Studies, pp.211–235 2011 ‘re: focus design – design histories and design studies in East Asia’ (Part 1: Introduction and Japan). In: Journal of Design History. vol.24, pt.3, pp.273–282

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Hayley Newman Reader Biography I am a Reader at Chelsea College of Art and Design. I studied at Middlesex Uni versity, The Slade School of Fine Art, Hochschule für bildende Künste Hamburg and University of Leeds, where I completed my PhD in 2001. In 2004–05, I was the recipient of the Helen Chadwick Arts Council of England Fellowship at the British School at Rome and the Ruskin School of Drawing and Fine Art, Oxford. I have had solo shows at Matt’s Gallery, London; The Ikon Gallery, Birmingham; Centre d’Art Contemporain, Geneva; and The Longside Gallery at the Yorkshire Sculpture Park; and have performed at Camden Arts Centre, South London Gallery, Barbican Art Gallery and The Hayward Gallery. I live and work in London and am represented by Matt’s Gallery. Research statement I am interested in performance and performativity, documentary practice, humour, subjectivity and fiction. Over the past few years, I have worked both individually and collectively, and have learnt as much about how collectives function as I have about how I function as an individual. I am committed to working creatively around the current economic, social and ecological crises: from cuts to funding, which are changing the social fabric of our lives, to the environment and irresponsible behaviours of giant corporations. A recent output In the spring of 2011,

I gave myself the title ‘Self-appointed artist in residence’ of the City of London. Over the summer of 2011, I wrote the novella Common. This was a period of time that encompassed a crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone and protests/riots that started in London before spreading across Britain. Set in the City of London, one of the homes of global finance, and written through the voice of ‘Self-appointed artist in residence’, Common frames the current economic crisis within

wider debates around social justice and climate change. I continue to make work that is both expressive and critical: operating in the space between the personal and the political. The works Domes tique (2010–13), Façadism (2013–) and Histoire Economique (2013–) explore the politics of build ing façades and human faces. In Domestique, I embroidered expressive faces onto over seventy used dishcloths. The cloth faces enabled me to ask questions about how we relate to each other through the face: how we read, represent and communicate emotion. Domestique asked questions about what happens (as with the anonymity of sweatshop labourers) when a face is no longer present? Façadism is the title of a series of short stories about building façades and human faces. While in Histoire Naturelle, I turned to the façades of banks; becoming a bank rubber. In the work, I made frottages of the fronts of banks in the City of London. Made on envelopes, these rubbings appeared on the very things that banks send to notify us about our finances. Selected publications, exhibitions and performances 2013 Common. London: Copy Press 2013 Crisis Cabaret. London: Barbican Art Gallery 2013 Head to Head. Two-person exhibition with Emily Speed. Manchester: Castlefield Gallery 2012 Facing. Solo performance. Manchester: Cornerhouse Gallery 2011 Richard of York Gave Battle in Vain. London: Whitechapel Gallery 2011 Last of the Red Wine (The prequel/sequel). Dublin: Project Arts Centre

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Domestique, 2010â&#x20AC;&#x201C;13. Photo: Adrian Wood

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Michael Pavelka Reader Biography Michael Pavelka is a Reader at

Wimbledon. His theatre design work includes two productions with Lindsay Anderson: The Fishing Trip and Holiday, (Old Vic); with Edward Hall/Propeller Company: Henry V, The Winter’s Tale (UK, Europe, USA, Far East), and Rose Rage (West End, Chicago, New York, Chicago). Library Theatre Manchester designs include The Life of Galileo (Best Design MEN Awards), plus numerous Shakespeare and Brecht productions. Research statement My current practice-based

research continues to extend over a decade of production work with the ensemble company Propeller, of which I am a founder member. Each project now spans a period of eighteen months and has recently involved double bills of plays, produced in England and then toured across the UK, continental Europe, North America and the Far East. These radical but accessible productions of Shakespeare’s most challenging and layered works are explored in the context of all-male casting. The scenography supports performance that is characterized by its intensely physical approach, speed and clarity. Cross-gender casting presents opportunities to investigate the language of clothing and movement that are approached in different ways from project to project depending on the metaphorical positions of the characters. The ensemble company framework presents dynamic solutions to Shakespeare’s narratives that are told by a chorus with a specific social identity, unified by costume, music and move ment. The chorus are usually being seen to ‘devise’ the stories in view of the audience and underscore them with live soundscapes created with unusual objects as well as musical instru ments – their continuous presence provides the focus for scenographic ideas and images. The company is committed to wider accessibility and the productions attract diverse audiences.

Its output has been extended to include the publication of ‘Pocket’ versions of the texts for educational outreach. Recognition of this work is reflected by recently extended funding for three years from the Arts Council of England and other support from the Department of Education. A recent output Set and costume design for

Twelfth Night and The Taming of the Shrew, Propeller Theatre 2012–13. Collective authorship of a production is the philosophical premise of Propeller Theatre and critical to the integrity of the design process, discovering what an ensemble means for all of us: not only perfor mers, but also a complete creative, technical and administrative team. The all-maleness of the company is hardly a new thing, but its strengths continue to stimulate our collaborative process and make clearer the onstage game of tag that characterizes good ensemble work, a game without the complications of blatant sexual chemistry. Depictions of gender can be reserved and deployed as simply another stylistic idea serving the narrative rather than a sideshow of naturalistic voyeurism. The audience are con stantly reminded that the actors are (very skilfully) pretending – which in turn requires the viewer to collaborate in the pretence. I design worlds for these two plays in which this can fluidly happen; to help make the physical demarcation between the layers of a performer’s reality clear for the audience in relation to the telling of the story: to set some physical rules for the actors to make and break. Selected exhibitions 2013 Production of Richard III. Cardiff: World Stage Design Selected performances 2013 Twelve Angry Men. London. 2013 The Hanging Gardens. World premier of Frank McGuinness’s new play. Dublin: Abbey Theatre 2011–12 Henry V and The Winter’s Tale. Propeller Theatre

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Photograph of the production of Richard III., Cardiff, World Stage Design 2013

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2012 Hay Fever. Dublin: Gate Theatre and Charleston SC Spoleto Festival 2010â&#x20AC;&#x201C;11 Richard III and The Comedy of Errors. Propeller Theatre

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Malcolm Quinn Reader Biography Dr Malcolm Quinn is Associate Dean of Research and Reader in Critical Practice at the CCW Graduate School. He has written extensively on art and design research, and is an experienced PhD supervisor. He is a contributor to The Routledge Companion to Research in the Arts (2010), and is a member of the AHRC peer review college. Since the publication of his first book, The Swastika: Constructing the Symbol (Routledge, 1994) he has been interested in how ‘government aesthetics’ interface with individual identity and subjectivity.

• The idea of an academy of art extended or expanded into public space relates to a larger problem of cultural pedagogy within com mercial society framed by Adam Smith. It was Jeremy Bentham’s solutions to this problem that paved the way for a politicization of the academy of art. • What differentiates the art school from the academy of art is a focus on experimental and contingent solutions to endemic and persistent problems in the construction of cultural pedagogy within liberal democracy.

A recent output Utilitarianism and the Art

Selected publications 2013 ‘The pedagogy of capital: art history and art school knowledge’. In: Potter, M. (ed.) The Concept of the ‘Master’ in Art Education in Britain and Ireland, 1770 to the Present. Farnham: Ashgate 2013 ‘Art and psychoanalysis (among other discourses)’. In: Kivland, S. and Segal, N. (eds.) Vicissitudes: Histories and Destines of Psychoanalysis, London: IGRS/UCL 2012 Utilitarianism and the art school in nineteenth-century Britain. London: Pickering and Chatto 2011 ‘Chigurh’s haircut: three dialogues on provocation’. In: Corris, M. Joseph-Lester,J & Kivland, S. (eds) Transmission Annual, Provocation. London: Artwords Press. 2011 ‘What is the Alternative?’ In: Cummings, N. and Critical Practice (eds.) Parade, Public Modes of Assembly and Forms of Address. London: CCW Graduate School

School in 19th-century Britain (Pickering and Chatto, 2012). State-funded art education in England comes ‘after the academy of art’ and after a key moment for liberal democracy in Britain, the Reform Bill of 1832. This book engages with the following issues: • The publicly funded art school in England emerges from a dispute about the relation ship between art and the state, which was initiated and led by followers and acolytes of Jeremy Bentham in the 1830s. The utilitarian idea of a publicly funded art school into public space, serving public interests.

Selected peer-reviewed journal articles 2013 ‘Stupidity is anything at all’. In: Parallax vol.19, pt.3 2011 ‘The invention of facts: bentham’s ethics and the education of public taste’. In: Revue d’études benthamiennes 9 2011 ‘The disambiguation of the Royal Academy of Arts’. In: History of European Ideas vol.37, pt.1 2011 ‘The political economic necessity of the art school 1835–52’. In: The International Journal of Art and Design Education vol.30, pt.1

Research statement My current research focuses on the development of governmentfunded art education in early 19th-century Britain, looking at three principal issues: 1. The historical question of how the publicly funded art school emerged from a utilitarian critique of the academy. 2. The philosophical question of the relation between utility and taste. 3. The political and ethical question of how Jeremy Bentham’s opposition between utility and taste depended on the production of an unauthorized cultural space. This research, which began with a UAL sabbatical in 2009, is summarized in Utilitarianism and the Art School in 19th-century Britain (Pickering and Chatto, 2012).

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Selected conferences and lectures 2013 ‘Utilitarianism and the art school in nineteenth century Britain’. At: What’s the Point of Art School conference. London: Central Saint Martins College of Arts and Design 2012 ‘Bentham and Hume on social standards of taste’. At: International Society for Utilitarian Studies (ISUS) conference. New York: New York University 2011 ‘Reading Reynolds with Bentham: the idea of the art school in nineteenth-century britain’. Bentham Project. London: University College London

Cover of Utilitarianism and the Art School in 19th-century Britain. London: Pickering and Chatto, 2012

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Transnational Art, Identity and Nation – TrAIN Director: Professor Toshio Watanabe Deputy Directors: Professor Deborah Cherry,

Dr Michael Asbury Centre Members: Professor Oriana Baddeley, Professor Sonia Boyce, Professor Jane Collins, Dr David Dibosa, Dr Yuko Kikuchi, Professor Carol Tulloch Administrator: Nick Tatchell (n.tatchell@arts.ac.uk) Website: www.transnational.org.uk Twitter: @TrAINCentre The University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) is a forum for historical, theoretical and practice-based research in architecture, art, communication, craft and design. In an increasingly complex period of globaliza tion, established certainties about the nature of culture, tradition and authenticity are being constantly questioned. The movement of peoples and artefacts is breaking down and producing new identities outside and beyond those of the nation state. It is no longer easy to define the nature of the local and the international, and many cultural interactions now operate on the level of the transnational. Focusing on how the movement of both people and artefacts breaks down borders and produces new identities beyond those of the nation state, the centre aims to contribute to both creativity and cultural understanding. TrAIN is a dynamic research forum for inter nationally recognized scholars and practitioners, inside and outside the University of the Arts London. TrAIN offers research excellence and leadership through its coherent programme of events and projects, and brings together research in transnational issues in art and design, both globally and locally. Central to the centre’s activities is a consideration of the impact of identity and nation on the production and consumption of artworks and artefacts in

this new global context. Transnational relation ships are explored through crossings that traverse different media, including fine art, design, craft, curation, performance and popular art forms. Members contribute to TrAIN’s activities by completing group and individual research pro jects and through the supervision of relevant postgraduate study. Issues and debates arising from research activities are disseminated by TrAIN conferences, exhibitions and publications. Throughout the academic year, TrAIN organizes public events, such as the TrAIN Open Lectures at Chelsea College of Art and Design at which artists, theorists and curators present their work and ideas. More information about the centre’s activities, core members and visiting scholars is available at www.transnational.org.uk. Key partnerships include the TrAIN/ Gasworks Artists’ Residency, an international residency which raises specific questions for individual artists, and wider issues regarding how both local and international contexts are negotiated in practice. TrAIN also hosts a series of Fulbright Visiting Distinguished Chairs in collaboration with CCW Graduate School. Current TrAIN research projects include: Birth of Cool: Style Narratives of the African Diaspora (British Council Funded); Translating and Writing Modern Design Histories in East Asia for the Global World (AHRC); Russel Wright and Asia: Inter-Asia Modernities and Transnational Design History During the Cold War. Previous TrAIN projects include: Forgotten Japonisme, the Taste for Japanese Art in Britain and the USA, 1920s–1950s (AHRC funded); Dress and the African Diaspora (AHRC funded); British Empire and Design; Ruskin in Japan, 1890– 1940, Nature for Art, Art for Life (winner of Japan Festival Award and Gold Medal, Gesner Award, Tokyo); Other Modernities; Refracted Colonial Modernities: Identities in Taiwanese Art and Design (Chiang Ching-kuo Foundation funded);

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When Shall We 3? (Scenes from the life of Njinga Mbandi), Kimathi Donkor, oil on linen, 160 × 105cm, 2010

Modernity and National Identity in Art: India, Japan and Mexico, 1860s–1940s (in collaboration with the University of Sussex, AHRB funded). Meeting Margins, Transnational Art in Latin America and Europe, 1950–1978 (in collaboration with the University of Essex, AHRC funded).

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Ligatus Director: Professor Nicholas Pickwoad Deputy Director: Dr Athanasios Velios

The Ligatus Research Centre offers a unique environment within the University of the Arts London, where the study of the history of bookbinding and book conservation is combined with research into semantic data structures and collection survey tools. Current projects include: Bookbinding terminology

Ligatus is leading the development of a ter minology for historic bookbinding. Following a project in the library of the monastery of Saint Catherine on Mount Sinai, Egypt, which resulted in a detailed bookbinding glossary and a methodology to record historic bookbind ings, Ligatus is now leading a large network of European partners in the development of a widely adopted bookbinding thesaurus based on semantic web standards. The monastery of St Catherine in the Sinai, Egypt, is the oldest active Christian monastery in the world. The monastery’s library holds a unique collection of Byzantine manuscripts. Ligatus undertook the task of assessing the condition of the manuscripts, has designed a new conservation workshop and a stainless steel box for the manuscripts, and is advising on further conservation work (funded by the Saint Catherine Foundation with additional support from the Headley Trust).

bookbindings (funded by the Arts & Humanities Research Council (AHRC)). Digital archive of bookbinding

30,000 slides of the bound manuscripts in the St Catherine’s Monastery Library, taken as part of the survey, have been digitized and have been joined by 10,000 digital images of the bindings on the early printed books. Based on this material, Ligatus is building a repository of an additional, unrivalled collection of materials relating to the history of bookbinding, donated by key scholars who have worked internationally in major public and private collections. Archiving

Ligatus is pioneering the development of methodologies for documenting heritage archives. Following the proposal of Creative Archiving, where the archivist's subjectivity is turned into an advantage by introducing an interpretation layer through modern software tools, Ligatus is developing ways to enable the conceptual linking of heritage archives based on semantic technologies (Linked Open Data). John Latham Archive

Ligatus is working with the John Latham Foundation on the John Latham Archive. The archive has been digitized and is available for study online. John Latham's influence on the visual arts is remarkable. His philosophical ideas on Events, Event Structures and ‘Flat Time’, a unifying overview of the world, are fascinating and complex (funded by the AHRC and the Henry Moore Foundation).

Ligatus Bookbinding Schema

Creative Archiving

Following the condition surveys in the library of the Monastery of Saint Catherine and other research libraries, Ligatus has developed a schema for recording bookbindings in which the thesaurus of terms matches the schema fields. Both the schema and the thesaurus are being further developed in collaboration with Ligatus’s European partners to serve as the basis for an online descriptive process to record

The archivist is the keeper of historical truth. Objectivity in archival practice is a muchdebated issue in the profession. Postmodern thinking on archives led archivists to accept the inevitability of their subjectivity as a disadvantage, ignoring the expertise of the archivist on the archived material, which is often unique. Creative Archiving celebrates the role of the archivist in history and introduces

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From the Bijzondere Collecties of Amsterdam University Library: binding of a copy of Jean Calvin, In viginti prima Ezechielis Prophetæ capita Prælectiones, Geneva: ex officina Francisci Perrini, 1565

a methodology for turning subjectivity into an advantage, through the clearer interpretation of archives. Ligatus Summer Schools

The Ligatus Summer Schools aim to uncover the possibilities latent in the detailed study of bookbinding and focus mainly on books from Europe and the eastern Mediterranean, which have been bound between the 15th and the early 19th century. Courses have taken place in Volos, Patmos, Thessaloniki, Wolfenbüttel, Venice, Paris, and this year in Uppsala, Sweden. The courses also offer visits to important local libra ries, both secular and monastic. A knowledge of the structure of bindings can help conserva tors, librarians, book historians and scholars who work with old books to understand the age, provenance and significance of bindings for historical research and cataloguing, as well as to make appropriate decisions regarding conservation treatments, housing and access. Descriptions of bindings are also important for digitization projects, as they dramatically enrich the potential of image and text metadata. This is particularly important for collections of manuscripts and early printed books.

Ligatus areas of PhD research: • The interface of semantic technologies and creative practice • Historic bookbinding in Europe, the Middle East and the Americas • Digital applications to bookbinding and conservation • Creative archiving • Semantic archiving Ligatus cooperates with many institutions, notably including: • School of Advanced Study, University of London • Centre for the Study of the Book, Bodleian Library in Oxford University • Museum of Byzantine Culture in Thessaloniki, Greece • International Institute for Conservation of Historic and Artistic Works • Foundation for Research and Technology, Greece • John Latham Foundation • The Getty Institute www.ligatus.org.uk

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The Centre for Drawing: Wimbledon

The Centre For Drawing: Wimbledon is focused on developing research, debate and support for members of the CCW Graduate School seeking both to develop a better understanding of drawing as a cross-disciplinary subject and to use that knowledge to inform curriculum development. Over the past decade, the centre has initiated a number of exhibitions and publications designed to enhance our understanding of drawing. Lead members of the network include Kelly Chorpening, Course Leader BA Drawing Camberwell; Simon Betts, Dean of Wimbledon College of Art; and Stephen Farthing, RA, The Rootstein Hopkins Professor of Drawing. In November 2011, Betts and Farthing delivered keynote addresses at Thinking through Drawing: Practice into Knowledge, a conference organized by The Department of Arts & Humani ties at Teachers College, Columbia University, New York. In 2012, Kelly Chorpening organized Drawing Out 2012, a conference held in London in collaboration with The National Gallery. Speakers included artists Michael Craig-Martin, Grayson Perry, Michael Landy, Kelly Chorpening and Stephen Farthing. During April 2013, Royal Melbourne Institute of Technology hosted The Centre for Drawing: Wimbledon at their third international network collaboration conference in Melbourne. Speakers included Dr Aaron McPeak (a recently completed CCW PhD student), Farthing, Chorpening and Professor Paul Coldwell. The subject of the conference was Drawing and Writing Publica tions, including The Sketch Books of Nicholas Grimshaw (September 2009, RA Publications), The Sketch Books of Jocelyn Herbert (November 2011, RA Publications) The Good Drawing (September 2012, Bright Publication, CCW), Derek Jarman’s Sketchbooks (September 2013, Thames & Hudson).

Positioning Jean Helion, Stephen Farthing, crayon and ink on paper, 2013

Research Centres

Textile Environment Design (TED)

The Textile Environment Design (TED) research group at Chelsea was established in 1996 and is a unique collective of practising designers and educators, now part of University of the Arts London’s Textiles Futures Research Centre. The group builds the Sustainable Strategy platform within the research centre, with the main aim of developing the role that the designer can play in reducing impact on the environment and providing tools for designcentred solutions. Textile Environment Design (TED) developed THE TEN – a set of sustainable design strategies in response to the increasingly harsh environ mental impacts of the textile industry, using this disconcerting fact as a provocation for action. ‘Eighty per cent of a product’s environmental and economic costs (are) committed by the final design stage before production begins.’ (Graedel et al, 1995:17) Since 1996, TED has used its portfolio of inter national workshops and lectures to create a ‘cradle to cradle’ approach to sustainability in the textiles and fashion industry, but which are increasingly applied to a wide range of industries, including interior architecture, and product design. The strategies were developed in order to apply new research findings from TED workshops, which include elements of strategic design thinking about the life cycle and aesthetic issues of a product. THE TEN strategies also function as a framework for large-scale companies and small-to-medium enterprises (SME’s) to be proactive and create real change in design and production. Through TED’s TEN design-thinking workshops, the strategies can be a catalyst for companies and individuals to apply sustainable thinking to decisions, which drive innovation and new ways of doing business. Recent consultancies include Stanhope Plc, PPR Home (now Kering), H&M,

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The Continuity Company (TCC Global), Sloggi, Puma, VF Corporation and Gucci. The TED website (www.tedresearch.net) is built for students and professional designers, extending the dissemination of TED research beyond its immediate culture. The resource and the cards can be used as a practical tool for implementation in research, education, business and wider cultural environments. Group Members:

Rebecca Earley (Professor of Sustainable Textile and Fashion Design, Director of Textiles Future Research Centre – TFRC) Becky’s research work and creative practice has sought to develop strategies – THE TEN – for the designer to employ in seeking to reduce the environmental impact of textile production, consumption and disposal. Becky’s core approach is based on learning through practice, as in her Top 100 and Worn Again projects, both of which started as an exploration of textiles upcycling. Kay Politowicz (Professor in Textile Design) Kay is co-author of THE TEN, and co-founder of TED. She is a designer, researcher and former BA Textiles Course Director; she is known for both her work in printed textiles and her theore tical and practice-based research into sustainable textile design strategies. Kate Goldsworthy (TED Senior Research Fellow, lead researcher at TFRC) Kate's research explores the role of new manu facturing processes and digital technologies in creating innovative tools for recycling syn thetic materials. Her core strengths are design for cyclability, new finishing technologies and materials R&D. Clara Vuletich (TED/ MISTRA PhD Candidate) Clara was the Research Assistant at TED between 2006–11, and during this period she became increasingly aware of the urgency with which we

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need to address the fundamentals of the textile and fashion industries – one that designers are implicitly involved in. She is now the funded MISTRA Future Fashion student with TED. Miriam Ribul, (Research Assistant)

Miriam has worked within TED since December 2011 and has been appointed for the MISTRA Future Fashion project. She has contributed to TED consultancy work with companies such as VF and continues her research in sustainable manufacturing processes that include material development and social engagement.

The TED research group includes BA and MA Textile Design teaching staff at Chelsea College of Art and Design: • Lorna Bircham (Course Director, MA Textile Design) • Kathy Round (Senior Lecturer) • Melanie Bowles (Senior Lecturer) • Caryn Simonson (BA Course Director and Coordinator for Critical Theory)

The TED’s TEN cards were launched by the TED research team in 2011 as a tool to enable workshop participants to design using sustainability as a driver for innovation. In March 2013, the team updated the text on the cards, now called THE TEN, to fully reflect the questions that each strategy addresses and to propose tactics for implementation

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Bright Series

Bright Light

The Bright series returns to the fundamental mission of higher education: to produce, store and disseminate knowledge and experience for the sake of the expansion of human con sciousness. Lofty ideals indeed but these ideas nevertheless still lie at the centre of a vision that enables learning to remain sustainable despite impediments. Through the series, Camberwell, Chelsea and Wimbledon Colleges of Art and Design (CCW), consolidates the existing networks of communication, linking those engaged in art and design both within the University of the Arts London (UAL) and beyond its boundaries. Bright facilitates the circulation of debates taking place across art and design disciplines. Today’s learning environments are not only international, they are also interdisciplinary. There is a pressing need to trace the develop ment of thinking across national borders and disciplinary fields in order to identify the emergence of innovative practices and to build on them. One important dimension of the Bright series is the recognition that different levels of engagement with knowledge production and dissemination take place according to the place we occupy within our existing learning networks. Students just starting out on an exploration of their ideas cannot be expected to work at the same level as that of professors with established research careers. The question, though, is not about length of experience, it’s about the intensity of a person’s commitment to furthering their ideas.

Bright Light is a new series of publications focusing on the latest debates in the arts and design. Issues such as the environment and technology, as well as socially engaged practices and identity will be looked at through the lens of current arts and design practice. Bright Light will be a way of seeing how practitioners are providing fresh perspectives on key questions facing designers, fine artists, lens-based media practitioners, curators, archivists and critical theorists. With interviews and excerpts from discussions with key figures speaking at CCW, Bright Light will provide a lighter way of getting to know what’s being said.

Bright Editorial Board Professor Chris Wainwright Professor Chris Wainwright, Head of Colleges: Camberwell, Chelsea, Wimbledon. Pro Vice Chancellor, University of the Arts London David Dibosa Bright Series Editor, Camberwell, Chelsea, Wimbledon Colleges Paulus M. Dreibholz Head of Atelier Dreibholz Professor Stephen Farthing The Rootstein Hopkins Chair of Drawing, University of the Arts London Hans Hedberg University College Director, Valand Academy, University of Gothenburg Dr Malcolm Quinn Director of Graduate School and Associate Dean of Research, Camberwell, Chelsea, Wimbledon Colleges

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Bright Publications

PARADE: Public Modes of Assembly and Forms of Address

Critical Practice (CP) is a cluster of artists, researchers, academics and others supported by the CCW Graduate School. Initiated in 2005, CP explores new models of creative practice and seeks to engage these models in appropriate public forums, both nationally and interna tionally. We have participated in exhibitions and seminars, conferences, film, concerts and other event programmes. We have worked with archives and collections, publications, broadcast and other distributive media, while actively seeking to collaborate. CP has a long-standing interest in art, and public goods, spaces, services and knowledge, and has generated a track record of producing original, participatory events. Chelsea College of Art and Design has a large, contemporary courtyard at its heart: the beautiful Rootstein Hopkins Parade Ground. We collaborated with Polish curator Kuba Szreder to develop a project that would explore the diverse, contested and vital conceptions of being in public. We created a bespoke, temporary structure designed by award-winning Polish architects Ola Wasilkowska and Michał Piasecki, within which we produced a landmark event in an amazing location with a host of international contributors. PARADE challenged the lazy, institu tionalized model of knowledge-transfer whereby amplified ‘experts’ speak at a passive audience. Our modes of assembly, our forms of address and the knowledge we shared were intimately bound. This is a document of the evolution of PARADE, and part of its legacy. (Introduction by Critical Practice)

Bright 2: PARADE – Public Modes of Assembly and Forms of Address Editor: Neil Cummings and Critical Practice Specifications: 176 pages, softback, sections of 2 and 4 colours ISBN: 978 - 0 - 9558628 - 3 - 0

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The Currency of Art

The most recent stage in this ongoing collabo ration [between CCW and ING] focuses on The Baring Archive. For this phase, research staff from CCW’s Graduate School have been joined by invited colleagues; the artist, Professor Lubaina Himid (University of Central Lancashire), and the art historian, Dr Geoff Quilley (University of Sussex). The group’s investigations have led to illuminating juxtapositions between newly created works and the original collection, shown in May 2010 at ING in an exhibition entitled re:SEARCHING: Playing in the Archive. They have also drawn attention to the construction of the archive itself, raising questions about the under lying choices of what has been considered important to preserve and the methods used in conserving it. By uncovering hidden narratives embedded in the artefacts, new avenues of interpretation have opened up, directly relating to the activities of Barings over its long and fascinating history. The notion of ‘playing’ in the archive, and the desire to make historical evidence physically present, were important to all the researchers engaged in the project and involved quite different methodologies to those employed by most financial and social historians. The Currency of Art celebrates the current phase of the collaboration and looks towards its potential developments. It should be seen as a catalyst to provoke debate across the arts, curatorial practice, finance and banking about the values underpinning these relationships as they were formed in the past, and as an invita tion to speculate about their possible shape in the future […] (Excerpt from the Introduction by Professor Eileen Hogan)

Bright 3: The Currency of Art Editorial team: Professor Orianna Baddeley, Professor Jane Collins, Professor Stephen Farthing, Becky Green, Professor Eileen Hogan Specifications: 80 pages, softback (Swiss brochure), 4 colours throughout ISBN: 978-0-9558628-5-4

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Relay: Circulating Ideas

Working with Masters students from three courses (MA Art Theory, MA Curating and MRes Arts Practice), we set up a series of relay teams, with each instructed to pass on a message – an image, an object, a citation, a viewpoint – between team members, one-to-one-to-one. Each team focused on one of four themes chosen by the group as a whole: Identity Formation; Spaces and Spectators; Art and Society; Recreating Histories. The themes engaged with current preoccupations in contemporary critical practice in the visual arts. Identity Formation relates to questions of subjectification, which have held centre stage courtesy of the French poststructuralist schools – those of Foucault and Derrida, in particular, as well as of their German predecessors, Nietzsche and Schopenhauer. Our relay team returns us to this lineage, releas ing the potential of the image as both catalyst and interruption. In Spaces and Spectators, the message gets spectacularized. The move is less along the trajectory of Baudrillard and Virilio, with their emphasis on the technology of the screen. Rather, with their attention to the materi ality of paper, the action of turning pages and the spatiality of folds, Spaces and Spectators brings us back to the scene of reading and the techno logy of the book. Art and Society opens the text out into the specificities of our contemporary geopolitical context. West Asia, North Africa, Southern Europe and the global natural environ ment become the centre for an email relay that demonstrates the way that intelligence-gathering is based on the topography of messages sent. Art and Society reminds us that the question of ‘who is sending messages to whom?’ remains the basis of intelligence-gathering. It provides us with the space to adjust our perspectives based on the information that we receive. Recreating Histories brings us back to the letter – the text of history and the words of memorialization. The way that place and memory sit alongside one another brings the series of relayed messages to an end […]

(Excerpt from ‘Don’t Shoot the Messenger: An Introduction to Relay’ by Dr David Dibosa) Bright 5: Relay – Circulating Ideas, March–May 2011 Editor in Chief: Professor Chris Wainwright Editorial team: Dr Eleanor Bowen, Dr David Dibosa, Becky Green, Bruno Ceschel, Dr Isobel Whitelegg Specifications: 96 pages, softback (exposed binding), sections of 2 and 4 colours ISBN: 978-0-9558628-6-1

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The Good Drawing

A lot of drawing requires careful observation, measuring and plotting. While the resulting combination of lines, smudges and erasures might resemble something of the world, it also evidences the drawing’s own creation. Each mark is a decision to select a bit of information and represent it in a particular way, but what determines these choices? On reflection, it becomes clear that drawing is really a process of translation: from the three-dimensional world into line; from an idea to a mark; through the eyes of a particular individual, at a specific moment in time. For the maker, questioning this set of conditions provides an intellectual framework for drawing; but this framework does not explain why a drawing is good for the viewer. The question, ‘What is a good drawing?’ provided a platform for a day of discussion between eminent artists and art historians, and an opportunity for those present to consider drawing’s place within current artistic practice and art education. The National Gallery, with its collections of Western European painting and a robust educational programme, was an ideal venue to engage in this dialogue and examine how the practices of the past necessarily inform the present. The occasion brought together an invited audience of BA, MA and PhD students and researchers associated with the Centre for Draw ing at UAL, the associate artist of the National Gallery of London and delegates of Drawing Out 2012, the second in a series of cross-disciplinary drawing conferences co‑organized by UAL and Royal Melbourne Institute of Technology (RMIT), Australia. A small but varied selection of drawings provided focus for our discussion, with debate tending to engage with the set of conditions that determined each drawing’s creation. In asking the question, ‘What is a good drawing?’, finding consensus seemed far less important than did recognizing what the overall conversation was

saying about drawing’s place in the world today. This publication provides a record of some of the discussion that took place on 28th March 2012 at the National Gallery, London. (Introduction) Bright 7: The Good Drawing Editors: Stephen Farthing, Kelly Chorpening, Colin Wiggins Series Editor: David Dibosa Editorial Assistant: Laura Lanceley Specifications: 100 pages, hardback (quarter-bound), 4 colours throughout ISBN: 978-1-908339-01-0

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Expedition

The research and production of new knowledge is a conventional role assigned to the Academy. Expedition invites us to reconsider this role. There is no call here to excavate new material, to explore new territory, or to further extend the frontiers of knowledge. Rather, the tendency is more towards a rediscovery and recontextualiza tion of what we already experience and witness, much of which is on our doorsteps. ‘Economic’ and ‘crisis’ are two familiar terms that have dominated the second decade of the 21st century, and that have given rise to shifts in political discourse fuelling concerns for artists, environmentalists, social scientists and anthropologists alike. Add to this an increasing public awareness of climate change brought about by human activity and in particular an escalation in resource extraction to fuel our eco nomically oriented greed and desire for material wealth. If you couple this with (at best) a slow and ineffective agenda of political action, it becomes clear that we are now entering into a critical era that will significantly shape the way in which future generations live their lives. On the one hand, politicians and some analysts call for a new spirit of enterprise, encouraging the profit-oriented development of new markets and further exploitation of the earth’s resources in order to feed them. Think Canada’s exit from the Durban Conference; think the sifting of the oil tar sands of Northern Alberta; and the queue of multinational oil companies eager to exploit the Arctic oil and gas resources that are now accessible due to the melting sea ice, caused ironically as a result of the burning of fossil fuels. On the other hand, the old adage that crisis gives rise to opportunity is cited in the rethinking of attitudes towards the Amazonian rainforest with reforestation initiatives replacing deforestation as a central driver for rural sustenance in the northern states of Brazil. Amidst all this repositioning, shifting perspectives, and moral and ethical questioning, what role is there for the cultural practices of

artists and designers to influence debate, to raise consciousness and to alter opinion in this volatile terrain? […] (Excerpt from the Introduction by Professor Chris Wainwright) Bright 9: Expedition Editor: Chris Wainwright Series Editor: David Dibosa Associate Editor: Hannah Bird Editorial Assistant: Laura Lanceley Specifications: 158 pages, hardback (quarter-bound), 4 colours throughout ISBN: 978-1-908339-03-4

CCW Graduate School Directory 2013/14 Editor: Chris Wainwright, Head of Colleges: Camberwell, Chelsea, Wimbledon. Pro Vice Chancellor, University of the Arts London Associate Editor: Malcolm Quinn, Director of Graduate School and Associate Dean of Research (CCW) Editorial Assistant: Laura Lanceley With thanks to Claire Mokrauer-Madden, Kate Pelling and Drâ&#x20AC;ŻBlanca Regina Perez-Bustamante Copy editor: Colette Meacher Design: Atelier Dreibholz Printing: Holzhausen Druck GmbH Published by: CCW Graduate School 16 John Islip, London, SW1P 4JU This title was published as part of the Bright series of publications produced by CCW I SB N : 9 7 8 - 1-9 0 8 3 3 9- 06-5 ÂŠ 2013 CCW Graduate School and contributors