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Graduate School Directory 2014/15


Graduate School Directory 2014/15


Contents 5 Introduction: An Informed Community of Practice Themes 8 Environment 11 Identities 13 Social Engagement 15 Technologies Visiting Scholars 20 Visiting Fellows 22 Visiting Professors Partnerships 26 Cape Farewell 27 Future Laboratory 29 Geneva University of Art & Design 30 Institute of Contemporary Arts (ICA) 31 Society for Artistic Research 32 Tate Britain 33 University of Hyderabad 35 Victoria & Albert Museum 36 Wellcome Trust Journals 40 Bright Light 41 Journal of Visual Art Practice (JVAP) 42 Journal of Arts Writing by Students (JAWS) 43 Moving Image Review & Art Journal (MIRAJ) 45 Theatre & Performance Design MA Courses 48 Introduction 48 MA Conservation 49 MA Curating and Collections 50 MA Digital Theatre 51 MA Drawing

51 MA Fine Art 52 MFA Fine Art 53 MA Graphic Design Communication 54 MA Interior & Spatial Design 54 MA Textile Design 55 MA Theatre Design 56 MA Visual Arts: Book Arts 57 MA Visual Arts: Designer Maker 57 MA Visual Arts: Fine Art Digital 58 MA Visual Arts: Illustration 59 MA Visual Arts: Printmaking 60 MA Painting 60 How to Apply 61 Scholarships & bursaries 62 Profile: Ippolita Valentinetti Graduate Diplomas 66 Graduate Diploma Interior Design 67 How to Apply Research Degrees 70 Research Study at CCW: MPhil/PhD 71 CCW Research Degree Supervisors 72 Enrolled Research Degree Students 72 Registered Research Degree Students 73 Confirmed Research Degree Students 75 Completed Research Degree Students 2013/14 76 Profile: Bridget Harvey 77 Profile: Dr Ope Lori 78 Profile: Marsha Bradfield 79 Profile: Joanne O’Hara

Professors 82 Paul Coldwell 84 Jane Collins 86 Neil Cummings 88 Rebecca Earley 90 Catherine Elwes 92 Stephen Farthing 94 Eileen Hogan 96 Nicholas Pickwoad 98 Malcolm Quinn 100 Stephen A. R. Scrivener 102 Carol Tulloch 104 Chris Wainwright 106 Toshio Watanabe Readers 110 Michael Asbury 112 David Cross 114 Mark Fairnington 116 Sigune Hamann 118 Yuko Kikuchi 120 Jo Melvin 122 Hayley Newman 124 Michael Pavelka 126 Daniel Sturgis 128 Athanasios Velios Research Centres and Networks 132 Research Centre for Transnational Art, Identity and Nation – TrAIN 134 Ligatus 136 The Centre for Drawing: Wimbledon 137 Textiles Environment Design Bright Publications 142 Bright Series 143 Bright Light 144 PARADE 145 The Currency of Art 146 Relay: Circulating Ideas 147 The Good Drawing 148 Expedition


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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 our academic vision predicated on celebrating the ethos that characterizes our three specialist art colleges. Its rationale has been founded upon the reputa­ tions and strong traditions for well-established high quality undergraduate and postgraduate provision. Offers a mature research culture that is equally comfortable and experienced in sup­ port­ing practice-led and theory based research in art and design disciplines. The Graduate School is the home of our research degree and taught postgraduate students, pro­­­­­­ fessors, readers and fellows. It also has 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 its staff and students and the existence of real and sustainable partner­ships and collabo­ rative arrangements with external institu­tions, organizations and key indi­viduals in the cultural sector and beyond. There are three 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 teach­ ing 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 Engagement, and Identities as themes; and to reflect and amplify these through our Graduate School public programme. At those points during the year when we will be bringing together our taught postgraduate and research degree communities with our research staff and external partners in specific projects and activities. The third is the diversity and quality of our UK and worldwide partnerships that form the basis for collaborative research, exchanges, residen­cies, exhibitions, publications and other project based work. These three 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 which 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. Artists, designers and critical thinkers have a critical role to play in shaping how we as human beings behave and respond to our changing planet.


Themes


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Themes

Environment A Matter of Life and Death Martin Newth

During Powell and Pressburger’s wonderful 1946 film A Matter of Life and Death there is a scene in which a camera obscura features. June, the young American radio operator who has fallen for the stricken air force pilot played by David Niven, visits the local doctor whilst he is viewing the village from his camera obscura. This dialogue follows: June: “Surveying your kingdom?” Doctor: “A village doctor has to know everything. You’d be surprised how many diagnoses I’ve formed up here.” June: “I love looking at the village from here. Looks so different.” Doctor: “That’s because you see it all clearly and at once, as in a poet’s eye.” (Powell and Pressburger) The extract describes how the simple dislocation of an image through a camera obscura gives a different insight into the nature of the world outside. It might also start to describe the way art can provide a fresh view of our environ­ ment. Pres­enting the familiar through the filter of a lens or its articulation through artistic research can illuminate the way things really are. As an example of this kind of illumination, William Gilpin’s Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770 (1800) recalibrated the nation’s collective imagination in relation to the land­ scape. Tintern Abbey is described by Gilpin as: …the splendid ruin, contrasted with the objects of nature; and the elegant line formed by the summits of the hills which include the whole, make all together a very enchanting piece of scenery. (Gilpin, 1800. p.49)

Previous to Gilpin’s published guide, the ruin of Tintern Abbey would not have been seen to embody ideas of beauty. It is more likely to have been considered a decrepit eyesore than an emblem of the noble idea of the picturesque. Partly as a result of Gilpin’s writing apparatus for viewing the landscape such as the Claude Glass, Camera Lucida and Camera Obscura became all the rage. Their use acknowledged the inextri­ cable link between the technologies through which a land­scape is viewed and the way it might be imagined or understood. Consideration of the forces that form our understanding and imagining of landscape and the technologies by which it is recorded have been the basis of three of my curatorial pro­jects in collaboration with Fergus Heron from Brighton University. Capital (George and Jorgen Gallery, London), which took place in the sum­ mer of 2012, brought together a collection of works to propose a re-consideration of London during a strange time of deep economic reces­ sion and international attention of the London Olympics. The artists’ works highlighted London’s relation to power, history, trade and economic capital. London was depicted in con­trast to the narrative of the moment, as com­ plex and fragmented in relation to its history; a site of exchange, speculation, gendered power, sur­veil­lance, commodity display, desire and consumption. It offered renewed reflection upon the city and contemporary economic conditions. More recently, Scene (PM Gallery, London, 2014) brought together a selection of works that drew on ideas of place and identity to consider the histories, images and myths that have shaped the way the English landscape is imagined today. The title of the exhibition makes multiple references: from a place where some­thing real or imaginary happened or might occur; to a land­scape or attractive view of nature; to a stage setting or an act in a play or film. Our current research project, Country, develops the use of one word titles that offer multiple


Redend Point, Martin Newth, 3 single channel HD video projection, 2011. Installed at Kuandu Museum of Fine Arts, Taipei. Part of Troubled Waters exhibition 8 March–5 May, 2013

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Themes

meanings relating to our environment. The word ‘Country’ itself features as one of Raymond Williams’ Keywords (1975) in which he points out how country may equally refer to rural land or countryside as to national territory or the people that inhabit a nation. The complex multi­ tude of forces that the words Capital, Scene and Country connote also show how research into the idea of environment might intersect significantly with the other themes explored within the Graduate School. My practical research has led me to explore the relationship between the ancient technology of the camera obscura and the possibilities for contemporary technologies such as digital video. An ongoing project, entitled Sentinel, uses British WW2 Pillboxes as vehicles to explore the English landscape. I have transformed some of the 18,000 small concrete defensive structures that lined the English coastline into camera obscuras. Multi-screen installations use HD video to cap­ture the feeling of the dislocated view experi­ enced in a camera obscura that was described at the start of this essay. The work presents a view which explores interlocking layers of movement: the persistent lapping of the waves as well as the movement of the concrete structure as it is slowly undermined by the sea. The work invites reflection on the forces that change the land­­ scape. It is not possible to overstate the im­­­por­t­ ance of engagement with landscape. Environ­ment is rightly a key theme for the Gra­­duate School. Just as it is urgent that our envi­­ronment is understood through ecology and scientific data it is vital that we engage in the envir­onment through a consideration of how it might be described and imagined. It is no exag­ge­­ration to say that it is a matter of life and death. Bibliography Gilpin, W. (1800) Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770. 5th Edition. London: T. Cadell and W. Davies Williams, R. (1975) Keywords: A Vocabulary of Culture and Society. London: Fontana A Matter of Life and Death (or Stairway to Heaven) (1946) Directed by Emeric Pressburger, Michael Powell. [Film] UK: Powell and Pressburger


Themes

Identities Queer, Women, Art, Sport and Taiwan Dr Stephen Wilson

In the recent Phaidon publication Art and Queer Culture1 (Lord and Meyer, 2013), under the sec­tion ‘Document G – Queer Worlds (1995–)’, the editors state that ‘queer’ (a term used here as a strategy of living) has been reclaimed by gay men, lesbians, bisexuals, transgender people and other sexual minorities as a deviant means to self-description. To call oneself ‘queer’ is to confront but also to defy the violent uses to which that word has been put in the past. Queer as an overarching attitude suggests a critique of the contested normalization and corroboration of non-normative sexualities into the mainstream, for example in areas such as patriotism. How are these attitudes reflected back into the institutions of art? Is there a point in recent history when art institutions, public spaces and national museums have confidently realigned queer history? Has contemporary programming of queer art become institution­ alized and normalized in itself and hence turned to appealing to notions of good taste and ‘positivism’? Whether online space produces a less commodified realm of possibility remains to be seen, but Jennifer Doyle’s blog The Sport Spec­ tacle deftly conceives such nuances between the mainstream and representations of mar­ginality. Doyle, who was the US-UK Fulbright Distin­ guished Chair at CCW in residence at the TrAIN Research Centre in 2013/14, examines the politically charged unequal relations between sport, contemporary art, performance and experimentation. This shows in the blog post Sexing the Stop: Rousey vs McMann where Doyle looks at the role of the referee: “gender differ­ence impacts how referees see woman athletes. And gender difference also impacts how spectators see refereeing decisions. It can be hard to dis­­tinguish between these two things in reading a referee’s decision.” Doyle addresses vital con­­­­nec­tions surrounding gender reception within

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contemporary sport and media while simul­ taneously linking contemporary art prac­tices to these same demands. I would like to add, in response to this theory of public reception in sports, ‘woman artists’: when, where and how does gen­der play into our reading and assess­ ment of how women athletes and artists perform and are treated? Doyle is asking us to think about expressions that purport to give new under­ ­standings of identity, with questions such as: why are woman footballers far less acknowledged in mainstream media than their male equiva­ lents? Can the limited space encapsulated by single-sex male/female teams propose alternative binaries? It is through Doyle’s observations that it becomes clear that such historical prejudices can be quickly applied to contempo­ rary art and culture. Visibility in itself is not a trope; it needs to retain the momentum of criticality. Through expanding criticality beyond art – to include sport for example – and familiar western discourses more fruitful outcomes may be drawn. The sub­ject of national and personal

Travel label, stock image. © Archiwiz


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Themes

identity surfaced during a research visit to Taiwan in Febru­ary this year, where I became conscious of how individual identity in Taipei is subject to continuous precarity: exposed to the marginal transitivity of ‘glocal’ and trans­ national Asian identities and fraught historical boundaries. The socio-political sphere of contemporary Taipei is continuously engaged with responses to less detectable forms of transnational post-identity construction2. It seems that global circumstances increasingly open the door and allow room for once coreperiphery identities to take a more visible stage as well as address a fundamental question: what militates and necessitates a ‘periphery identity’? One example exists in the documented histories and support of present day LGBTQ Taiwan. Taiwan, unlike its nearby neighbours in Mainland China or Singapore, has garnered envy and attention for its progressive polices towards LGBTQ rights. Given the success of LGBTQ Taiwan, it is doubly important to consider that Taiwan is co-dependently tangled into a difficult and complicated relationship to mainland China. As Takamori Nobuo writes in recent conference paper Internal Asia: “Taiwan has to change its status from a ‘state’ to a ‘region’, while China becomes ‘Mainland’. It might be quite difficult for other states to imagine such a situation that a ‘state’ is forced to degrade its sovereignty. Nevertheless, such political reality enables Taiwan to flexibly switch its status between ‘state’ and ‘non-state’, and develop different strategies and ways of observa­tion according to external circumstances.” (Nobuo, 2013) It seems that retaining Taiwan’s precarious sovereign status in relation to mainland China has allowed for relative open-mindedness in the area of LGBTQ rights. As already stated, visibility in itself is not a trope; it needs to retain the momentum of criticality. For this to happen mar­ ginality needs to hold on to some notions of resistance and precariousness in order to retain freedoms and not become subsumed in national and cultural projects of self-affirmation and capitalist-driven positivism.

1

In collaboration with Phaidon Publishing and the CCW Graduate School Public Programme, a lively panel discussion was held on March 20th 2014 with Prof. Richard Meyer (co-editor of Art and Queer Culture), Irene Revell (Dir. Electra Productions) and Dr Stephen Wilson (UAL chair). The discussion looked at various positions within queer studies, identity based practices and contemporary art in 2014.

2

Post-identity is a term which contests the static and stereotypical formations of identity construction. A contemporary response to this term is stated in the former feminist genderqueer artist collective LTTR (Lesbians to the Rescue) in their refusal of such a fixed subjectivity. As written and noted by Julia Bryan-Wilson in ‘Repetition and Difference: LTTR’ (2006): “LTTR thus underscores the insufficiency of the term ‘identity politics’ without dismissing the politics of identity”.

Bibliography Doyle, J. (2014) Sexing the Stop: Rousey vs McMann. The Sport Spectacle. [Internet] (http://thesportspectacle. com/2014/02/23/sexing-the-stop-rousey-vs-mcmann) Lord, C. and Meyer, R. (2013) Art and Queer Culture. London: Phaidon Nobua, T. (2013) Internal Asia. In: Asian Contemporary Art Forum conference proceedings, Taipei National University of the Arts, 10 October 2013


Themes

Social Engagement The Laundry Room and BalinHouseProjects Dr Maiko Tsutsumi

The Laundry Room was a project based in and around the Tabard Gardens Estate in London SE1. The Arts Council funded project involved Richard Wentworth, Michael Marriott, Eduardo Padilha and myself. The exhibition was held in the autumn of 2012 in a former communal laundry room which was located in one of the blocks of the Balin House Estate. The exhibition featured part of Making Do and Getting By, a photographic series by Wentworth. The par­ti­cu­ lar set from the series was selected in response to the room, the building and its neigh­bourhood, their physical features and their histories. The exhibition was accompanied by a walk led by Wentworth and two workshops for local residents. The book The Laundry Room, with essays reflecting on the project, was pub­lished the following spring. Richard Wentworth was invited to take part in the project as he had personal links with

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the area, dating back to the 1960s. The key part of the project began long before Wentworth’s photographs were nailed on to the room’s walls. It was the ongoing conversations that the four of us had around themes such as the changing nature of the place – its physical environment, its demographic – and the resulting dynamics we wanted to see how all these influ­enced one another. Michael Marriott’s role in the project was to make an intervention to the room in response to the proposition in which BalinHouseProjects (BHP) (Flat No.22, Balin House) and The Laundry Room were to be joined as part of the planned major reconfiguration of BHP. The room, once cleared of the accumulated debris, revealed a fasci­natingly evocative quality aided by the rem­ nants of the room’s past use(s). Marriott drilled three large holes into the dividing wall between the laundry room and flat no.22 as a gesture suggesting the “in-progress” joining of the two spaces. It was also for a practical reason: inspect­ ing what the wall might be made of. One of the drilled-out chunks of the wall was given a new

The Laundry Room night walk with Richard Wentworth. Photo: BalinHouseProjects


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Themes

function as a pulley for the entrance door proportion of BHP’s local residents. Rather, of The Laundry Room. Marriott’s intervention it brought the creative community from addressed how materials, physical features awider geographical area into this particular of a place and practical actions may affect the environment. people within it (or vice versa). The proposed The Laundry Room was not just a project change of the BHP’s own space also echoed to engage with the local community and its the ongoing transformation of the surrounding immediate environment. It explored the mental area, on a more personal scale, and prompted and physical spaces where the histories of this discussions around the reasons and consequen­ particular place, the building, its surroundces of changes in the built environment on ­ings and its individual residents overlapped. personal and public levels. Although the building has stood so solidly and BHP was founded in 2006 by the Brazilian looks almost unchanged from when it was artist Eduardo Padilha. It began as a way for built in the 1930s, the surroundings and the Padilha, then a new resident on the block, to demographics of the occupants of the area has explore his neighbour­hood and to engage with had a series of dramatic transformations. the local community (which wasn’t exactly The latest is the Shard, which is now in direct opening its arms to newcomers). According to view from BHP’s entrance. Padilha, many of the residents in the estate were, In The Production of Space, Henri Lefebvre and still are, keeping themselves to themwrote that social space is itself “the outcome of selves. Some do not even respond to his friendly past actions … what permits fresh actions to greetings. BHP is also Padilha’s attempt to occur, while suggesting others and prohibiting explore the potential of an artist as an agent – or yet others,” while it also includes “networks a catalyst, in his word for change. In this regard, and pathways which facilitate the exchange BHP is also about an exploration of his own of material things and information” (Lefebvre, identity as an artist. The series of exhibitions and 1991, p.73). BHP is this particular type of social events BHP has hosted addressed Padilha’s long- space Lefebvre described, and The Laundry stand­ing interests as an artist who makes studio- Room became a space that revealed where phy­ based art. By opening up his own front room sical, material and historical spaces overlap as a temporary gallery space, he questioned and with individuals’ lives that encounter and pass explored the notion of public and private. through it. Padilha also researched the history of the building by talking to the oldest resident Bibliography Lefebvre, H. (1991) The Production of Space. Oxford: on the estate, as well as by acces­sing the London Blackwell Publishers Ltd Metropolitan Archives and Southwark Local History Library and its archives. He began to run workshops for the local children at the estate’s community hall, occasionally taking them on trips to artistic venues such as the Tate Modern. To his surprise, despite living so close to the gallery, most of the children had never visited the gallery, let alone knew that it existed at their doorstep. He found that besides those children and their parents who attended his workshops only a small section of his local community really engaged with his events at BHP. Likewise, The Laundry Room as a project seemed to have reached out to only a small


Themes

Technologies Expanded concepts of images Sigune Hamann

As consumers and producers of contemporary visual culture we are gradually adapting to deal with increasing numbers of images and signs which continuously change and merge into hybrid forms. Now, we experience images as events: grouped, layered, fragmented, and changing over time. In my practice and research I address conventions in seeing and processing information. This involves methods of gene­rat­ ing, processing and deconstructing images. In panoramic photographs I trace the dynamics of urban environments. My technique of panning while exposing a whole roll of 35 millimetre photogra­phic film in one rewinding movement allows the viewer in 360-degree film-strip instal­­­ lations or online environments to re-enact the event as though they were seeing it. The dependence of new technologies on established concepts of perception, such as the central perspective of a photograph or the linearity of time, is slowly being eroded. As new technical possibilities are explored these conven­ tions are being extended and replaced. By testing these boundaries, new technologies destabilize their own intrinsic assumptions. Through this they create the potential for new ways of seeing that are still fluid and conceptually difficult to grasp. At the Graduate School, a new grammar of artistic production comes into play that opens up a field of explora­tion for practitioners and theorists: “A language written but not yet spoken” (Chabrowski et al., 2014) – as formulated by the artist David Claerbout in conversa­tions during the preparation of his recent exhibition in Berlin. Claerbout, who works at the meeting point of photography, film/video and digital media, contributed to the symposium Stillness and Movement which I curated as a Graduate School project for the Tate in 2010. The conference focused on the interplay of stillness and move­ ment in the different developments of image and

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media traditions. It explored the conceptual approaches to these overlapping practises that already existed but have since been exposed and increased through digital technologies. In the history of ideas concepts such as ‘the expanded field’ (Krauss, 1979), ideas of collage/simultaneity and stillness and movement were developed long before electronic tech­­nolo­ gies made it possible for us to adapt and exploit them fluently in our daily practise and life. ‘The convergence of media’ is relevant beyond a continuous process of updating data into faster systems, as an opportunity to critically reflect on and explore historical connections and also question our retrospective understanding of the linear and causal development of visual media. Through the extension of methods across disciplines new scientific experimental technologies such as computer brain interfaces help to investigate these territories and, more specifically, to look at the production and recep­ tion of images. “The increasing speed of media processes and new models of simultaneity allow electronic devices to produce external image streams that have some affinity to our internal subjective streams of consciousness” (Großklaus, 2004). For the “technical images” (Flusser, 1983), it does not matter if they are freed from the past, present or future: “the uni­verse of history is for images only a field of possibilities, that can be put in the picture” (Flusser, 1992). The Changing Perception of Images (2012– 2015), a Graduate School student competition in partnership with the Wellcome Trust, and a research work by the artist and reader David Cross are among a number of projects that investigate technological changes at the meeting point of art, design and science at the Graduate School. In The White Bear Effect (2012), an installation by David Cross in collaboration with Matthew Cornford, an LED screen showing Olympic highlights was arranged in a manner that closeup appeared as a technological grid of colored lights. It merged to become a readable image as the viewer stepped back from the screen. How we access and experience artistic con­ cepts and treatments is the subject of research


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Themes

by Professor Eileen Hogan which looks at the potential of the digital to transform our understanding of artists' books. Dr Athanasios Velios explores concepts of creative archiving through open-access archives online to share and reflect on the continuous process and thoughts of an artist. Online technology also opens up ways of engagement globally through the award winning low-residency mode in MA Visual Arts: Fine Art Digital at Camberwell College of Arts. These are a sellection of the many modes of prac­tice responding to the rise of hybrid tech­nologies which are being explored at the Graduate School to reflect the complexity of artistic experience in a medialised environment with constant image developments in all social, technological and cultural contexts.

Bibliography Chabrowski,Y., Claerbout, D. and Pischel, A. (2014) still (not) moving. A group exhibition curated by Dieter Daniels. Berlin: EIGEN + ART Lab Cornford & Cross (2012) The White Bear Effect. De La Warr Pavilion, Bexhill Flusser, V.(1983) Für eine Philosophie der Fotografie. Place: Göttingen Flusser, V.(1992) Ins Universum der technischen Bilder, 4th ed. Place: Göttingen, p. 64 Großklaus, G. (2004) Medien-Bilder. Frankfurt am Main: Suhrkamp, p.164. Krauss, R.E. (1979) Sculpture in the Expanded Field. vol. 8, pp. 30–44

film-strip, Sigune Hamann (Photographic film-strip, size variable, proportion 1:50), Whitehall, 2010


Themes

film-strip, Sigune Hamann, blueback paper, 135cm × 650cm, Durham Art Gallery, 2013

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Visiting Scholars


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Visiting Scholars

Visiting Fellows David Buckland, Cape Farewell

David Buckland, a Visiting Fellow at CCW, is also the Director of ‘Cape Farewell’, an inter­ national not-for-profit programme dedicated to developing cultural responses to climate change. In 1 July 2014, Cape Farewell began a residency at the Graduate School at Chelsea College of Arts, working alongside Graduate School staff. The residency is planned to last for three years. Chris Smith, Editor, Journal of Visual Art Practice

In 2013/14 Chris Smith, founding and current editor of Journal of Visual Art Practice, became a CCW Visiting Fellow. Journal of Visual Art Practice, which is now hosted by CCW, is an inter­ national peer-reviewed journal in which dis­cus­ sions of the continually evolving relations of fine art practice and fine art education can be channeled, analysed and disseminated. In June 2014, Chris Smith took part in a CCW Graduate School Symposium on writing for journals and

in autumn 2014 will be collaborating with CCW reader in Archives Jo Melvin on a Graduate School event concurring with an exhibition of the work of Art and Language at the Lisson Gallery. Mark Davy, Futurecity

CCW Visiting Fellow Mark Davy, founder of the public arts organization ‘Futurecity’, gave a talk at Chelsea College of Arts in May 2014 on the new Slipstream installation at Heathrow terminal 2, created by artist Richard Wilson and curated by Davy. Slipstream is an ambitious artwork inspired by the world of aviation; com­ bining precision engineering with specialized UK craftsmanship. At 70 metres, it is one of the tallest permanent sculptures in Europe.

CO2 Measurements, David Buckland, Carbon 13 exhibition, Marfa, Texas, 2012


Slipstream, Richard Wilson, Heathrow Terminal 2. Š Price & Myers

Visiting Scholars 21


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Visiting Scholars

Visiting Professors Prof. David A. Bailey, International Curators Forum

CCW Professor David A Bailey, founder and Director of the International Curators Forum, is currently developing a three year project that addresses the issue of ‘Curating the Diaspora’ along with UK partners the V&A and International Curators Forum and international partners from South Korea, Barbados, Brazil and Sharjah Art Foundation. Bailey has also been working with Sharjah Art Foundation to develop a part­ nership with University of the Arts London dedicated to the initia­tion of a number of field research initiatives addressing institutional formation, exhibitions and artistic production. Bailey is also developing a CCW Graduate

School international symposium ‘On Interpreta­ tion’ to be held at Chelsea in November 2015. Pauline van Mourik Broekman, Mute

Pauline van Mourik Broekman will join CCW as a Visiting Professor in 2014/15. Broekman is a member of editorial collective Mute, an online magazine dedicated to exploring culture and politics after the net. She co-founded and published the magazine from 1994–2014. Mute was launched to discuss the inter­relationship of art and new technologies when the World Wide Web was newborn. As mass participation in digital media became integral to contemporary capitalism, its coverage expanded to engage with this shift – as did its experimentation with the formats and process of publishing itself. Broekman is also a found­ing member of MayDay Rooms, a new organisation for the safe-keeping and activation of historical material associated with social struggle and dissent. She has written and spoken widely on culture and technology, the politics of institution-building and publish­ ing maga­zines in the ‘digital era’. From Autumn 2014 she is building on this work in a PhD at the Royal College of Art entitled The Network Optic: Authorship and Collectivity after Vertov.

UAL Chairs

Back to Black: Art, Cinema and the Racial Imaginary, Whitechapel Art Gallery, London. Curated by Dr Petrine ArcherStraw, Prof. David A. Bailey and Professor Richard J. Powell.

Thirteen new professors have been appointed at University of the Arts London in a major investment in students’ academic experience. The new Chairs bring their expertise leading with a wide range of creative focuses to the University, including black art and design, arts, design and science and art in the environment. The cross-University Chairs will have a strong focus on enriching student experience at UAL by programming a variety of events and activities beyond the core curriculum that will stretch students’ knowledge, skills and networks. The Chairs will also work together to review the discipline develop-ment across the University to make sure that curricula content and methods of learning are


Visiting Scholars

plugged into the latest thinking and evolving trends in the creative sector. • • • • •

Nick Bell, Chair of Communication Design Sonia Boyce, Chair of Black Art and Design Paul Goodwin, Chair of Black Art and Design

• • • •

Stephen Farthing, Chair of Drawing Isaac Julien, Chair of Global Art Ben Kelly, Chair of Interior & Spatial Design Rob Kesseler, Chair of Arts, Design and

Fred Deakin, Chair of Interactive Digital Art Dominic Janes, Chair of Cultural and Visual

Studies

Science • Scott King, Chair of Visual Communication • Ezio Manzini, Chair of Design for Social Innovation • Lucy Orta, Chair of Art in the Environment • David Toop, Chair of Audio, Culture and Improvisation

Proud to be Flesh: A Mute magazine Anthology of Cultural Politics after the Net. Josephine Berry Slater, Pauline van Mourik Broekman (eds). London: Mute, 23 November 2009

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Partnerships


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Partnerships

Cape Farewell

Cape Farewell continues its partnership with CCW Graduate School with a three-year climate residency beginning in July 2014. We look forward to bringing the scientific and environ­ mental debate to the students at CCW and continuing to stimulate the creation of new issue-based artworks. Our shared focus is a creative response to the climate challenge, where we focus the creative capability of international and student artists to inspire artworks and stories that address how our habitat is under threat and the importance of environmental awareness in our daily lives. So far, joint projects with CCW have included a London-based expedition on the Thames with CCW students and a subsequent exhibition of their artworks at Chelsea College of Arts. In 2012 Professor Chris Wainwright and Cape Farewell Director David Buckland curated the exhibition U-N-F-O-L-D, showcasing 26 international artists who made artworks in response to the climate change challenge. This exhibition was shown at Universities world­wide including the USA and China.

The Cape Farewell project is now in its 14th year and works internationally in the USA, Canada, China, Europe and Russia. Building on the success of the U-N-F-O-L-D exhibition in Beijing and our long relationship with Japan, we will continue to work with our Asian partners. Cape Farewell will invite the international students who study at Chelsea, Camberwell and Wimbledon to engage with us and develop creative programmes to find creative solu­tions to environmental issues. During 2014–2017, Cape Farewell will continue with our international culture/climate programme which includes: • Our yearly commissioned ‘Climate’ Poet residency and the international youth SWITCH poetry competition • Our yearly Lovelock Art Commission in partner­ship with the Manchester Science Museum and Festival • Our rural art commissions in Dorset and Hebdon Bridge, Yorkshire • Our Zone Arctic expedition to the Russian archipelago of Franz Joseph planned for 2015 • Our Energy Renaissance Think / Do Tanks – interrogating just how we can envision a carbon zero economy, using the Isle of Wight as a test case scenario

Deanna Rodger during the Rhyme and Reason event at the LSE, organised by Cape Farewell and the LSE. Photo: Cape Farewell


Partnerships

Future Laboratory Reflections by Robin Jenkins

I was invited to be a part of a Future Laboratory project to use my knowledge of design, art and education to think about a future for the Tohoku region in the North East of Japan, the center of the catastrophe that was the earthquake and tsunami of March, 2011. After an extremely interesting four weeks in Japan, I am now reflecting upon all of the amazing things that I have seen, all the fantastic people I met and what will the future hold for Future Laboratory. During my travels I witnessed some incred­ ible sights and heard some remarkable stories. I was not completely prepared for what I saw: I did not imagine that three years after the tsunami there would still be so much to be done. I had not expected that so many people would still be living in temporary housing. I did not know that large towns and cities were still missing from the map, or rather had not been replaced. This was eerily emphasized by our

Temporary Housing community visits and workshop in Kamaishi

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satellite navi­gation system advising us to take a left at the post office where there no longer was one, or a train station, or a supermarket or any houses. So much has gone; so many people have gone. However, our goal is about seeing a future that is positive. Even though we don’t want people to forget about the past we want people to consider the new, the chances, the blank canvas that lies in front of them. During our expedition we discussed so many issues, we bounced ideas around, we tried to get the feel of the place and we started to see light at the end of the tun­nel. We became more ambitious by the day as we were greeted with such warmth and hospitality by the local people, who could have easily seen us as a band of eccentric artists invading their privacy and indulging on their grief. We were welcomed: we listened to them and they listened to us. People, who once seemed so remote, who had experienced horror that we only witnessed on the television have now become our friends, our colleagues and the most valuable component of our project.


28

Partnerships

We initiated workshops with the amazing Cathy Milikson who managed to create a mood of defiant joy. We met with small industry leaders looking for a new venture that engages their life long skills and their abilities for innovation. We watched as Ichiro Endo trans­formed grey days into dream-adorned kite filled skies, young and old taking turns on the handle while smiling from ear to ear. Future Laboratory, as the title suggests, is about the future. We are at the beginning of a very long journey. Along the way we hope to initiate a multitude of projects ranging from workshops to shows and exhibitions. We want to offer advice to the craftsmen and artisans who are embarking on incredible journeys of their own. We want to raise awareness; we want to show the world what can happen when you introduce creativity and lateral thought to what some­times feels like a hopeless situation. Future Lab is the shaft of light that cuts through grey clouds and takes advantage of the illu­mination it casts on the ground. We are Future Laboratory and this is just the beginning.


Partnerships

Geneva University of Art & Design

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projects. Following the visit, CCW/UAL and CCC/HEAD are planning a joint seminar/work­ In January 2014 staff from CCW visited the CCC shop programme commencing in autumn Research-Based Master Programme and Pre2014, on the themes of the politics of memory Doctoral Seminar at the Haute Ecole d'Art et de and environment and sustainability, which Design (HEAD), Geneva University of Art & Design, match the CCW research themes and the research to discuss the development of a collaborative aims of CCC. A common aim of both institutions partnership around shared areas of research is to use research in art as a powerful agent of inter­est. CCC is co-ordinated by Professor artistic and cultural transformation, intervention Catherine Queloz and delivers a pre-doctoral and translation. seminar aimed at developing rigorous and culturally engaged practice-led research in art and design. Professor Chris Wainwright, Pro ViceChancellor of UAL and Head of CCW, Professor Malcolm Quinn, Associate Dean of Research and Director of Graduate School CCW, and Professor Neil Cummings of CCW, delivered presentations on the PhD culture and curriculum at CCW/UAL. They also presented on their own research and held one-to-one discussions on student research

Genève-Haute école d’art et de design


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Partnerships

Institute of Contemporary Arts (ICA)

In 2014/15, CCW Graduate School is partnering with the ICA to encour­­age joint projects, enhance the postgraduate student experience and develop shared research interests. The ICA was founded in 1946 by a group of artists including Roland Penrose, Peter Watson and Herbert Read. It continues to support living artists in showing and exploring their work. It has been at the forefront of cultural experi­ mentation since its formation and has presented important debut solo shows by artists including Damien Hirst, Steve McQueen, Richard Prince, Luc Tuymans, Pablo Bronstein, Lis Rhodes, Bjarne Melgaard and Juergen Teller. A new gener­ation of artists including Luke Fowler, Lucky PDF, Hannah Sawtell and Factory Floor have taken part in exhibitions and residencies. The ICA Cinema continues to screen rare artists’ film, support independent releases and partner with leading film festivals. From the beginning of 2014/15, ICA membership will be offered to all CCW MA and PhD students and all staff at CCW. The new partnership between CCW and the ICA will pro­ vide opportunities for various types of research and collaboration between both organisations. Several events within the Graduate School Public Programme for 2014/15 will be included in the ICA public programme, as well as

Friday Salon, British New Contemporaries, 2001. Courtesy ICA

Chelsea’s General Theory Forum lectures. CCW staff will have access to the ICA facilities for events and workshops. The ICA will also offer opportu­nities for student open days and student placements. This Autumn, ICA Off-Site will return to The Old Selfridges Hotel for a week-long pro­ gramme (14 – 18 October) of live performance, music, art, dance and discussion to coincide with Frieze Art Fair. Two new exhibitions will take place in the galleries on the Mall from 24 September to 16 November 2014: One is award-winning artist Neil Beloufa’s first UK solo show Counting on People and Beware Wet Paint, a group show which pro­poses a new path for painting as a selfreferential practice. In the Fox Reading Room, as part of Safar Film Festival 2014, Whose Gaze is it Anyway? looks at the role of local pop culture represen­ta­ tion in the Arab world (2 September – 6 October 2014) and Cybernetic Serendipity, the first inter­ national exhibition in the UK devoted to the rela­ tionship between the arts and new technology, will be revisited from 14 October to 30 November 2014. For further exhibitions, films and events see the website: www.ica.org.uk


Partnerships

Society for Artistic Research (SAR) Research Catalogue and the Journal of Artistic Research (JAR)

The CCW Graduate School has recently become a Portal Partner for the Research Catalogue run by the SAR linked to the JAR. This new role for the Graduate School will place it at the heart of developments aimed at enhancing the environment for arts and design practice-based research across Europe. The JAR is an international, online, Open Access and peer-reviewed journal for the identification, publi­cation and dissemination of artistic research and its methodologies from all arts disciplines. JAR abandons the traditional journal article for­mat and offers its contributors a dynamic online canvas where text can be woven together with image, audio and video. The Journal is published by SAR and underpinned by the Research Catalogue (RC);

Work by Professor Florian Dombois

31

a searchable documentary database of artistic research. Anyone can compose an exposition and add it to the RC using the online editor. Suitable expos­itions can be submitted to the editorial board for peer-review and publication in JAR. For more information see: www.jar-online.net or contact Dr David Dibosa, CCW Graduate School


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Partnerships

Tate Britain

CCW Graduate School continues to strengthen and diversify its relationship with Tate Research. On 15 May 2014 Dr Penelope Curtis, Director of Tate Britain, spoke at the CCW Graduate School conference Taste After Bourdieu on a panel dedicated to a discussion of ‘Taste making and the Museum’. Dr David Dibosa and Professor Paul Goodwin, CCW/UAL, Dr Silke Ackermann, Director of the Museum of the History of Science at Oxford and Dr Dirk vom Lehn from King’s College London also contributed to this panel. It was chaired by Dr Michael Lehnert. On Friday March 7 2014, UAL research network Paint Club hosted A Ghost in My House, the first of two research events at Tate Britain involving staff, students and external speakers. It was initiated by Jeffrey Dennis, Senior Lecturer in Fine Art at Chelsea College of Arts, whose work is included in the Tate Collection. A Ghost in my House addressed the issue of what kind of working relationship contemporary artists might hope to have with the paintings (both historical and recent) in a museum collection. Artists

Andrew Cranston, Dougal McKenzie and AnnMarie James (a recent graduate from the Wimbledon MA Fine Art course) were invited to discuss their relationship with particular paint­ings from the new Tate Britain displays. The event was chaired by Dr Jo Melvin, Reader in Archives at CCW. On 25 April, Paint Club organised a second event at Tate Britain entitled Painting as a Document which addressed the issue of how we view a painting as a complex document. Guest artists for this event were writer and critic Barry Schwabsky and artist Clare Woods. The event was chaired by CCW PhD students Alison Goodyear and Donal Moloney.

Donal Moloney, Barry Schwabsky, Clare Woods and Alison Goodyear on stage for ‘Painting as a Document’, Clore Auditorium, Tate Britain, 25 April 2014


Partnerships

University of Hyderabad

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The UK team found the students eager to engage and experiment. The digital theatre Wimbledon College of Arts is currently receivgroup acquired new skills and worked collab­ ing funding from UKIERI (UK/India Education oratively to apply them within the means Research Initiative) in support of a thematic available. They were shown examples of a range partnership with Sarojini Naidu School of Arts of digital work, much of which crossed disci­ & Communication, at the University of plinary boundaries. The importance of critical Hyderabad in Andhra Pradesh. engagement with these technologies and their contribution to performance, not as decoration Scenography in a digital age: a comparative but as a new means of perceiving and engaging study of the impact of new media on contemporary with ideas, underpinned all the experiments. Indian and British performance practice. CCW research student Vanessa Saraceno des­ cribes the process: “Assisting the students in the “This art is still in its infancy, not, to be sure development of their projects I encouraged because of the means available but because of them to always consider the problematics of the the manner in which they are used…the real­ specific context in which their perfor­mance will ization of drama on the stage, difficult to begin take place and to embody these problematics, with because of the numerous media required interweaving all the knowledge they have with at present, is completely thwarted by the the potentialities of a new artistic territory.” impossibility of bringing these diverse efforts The drawing group explored what drawing together with even relative precision …” might be beyond the traditional idea of marks (Beacham, 1891, p. 89) on paper towards expanded notions of drawing as performance. Using their own experience “[T]he increasing ubiquity of the World Wide Web and objects they had brought imbued with and its particular visual aesthetic is what most personal memories as starting points, they spectators associate with performative imagery…” gradually extended their mark making beyond (Aronson, 2008) the represen­tational into bold and expressive performa­tive gestures. These ‘drawings as In September 2013 members of staff and two performance’ engaged haptic skills and digital research students from the Sarojini Naidu technology as the students’ initial mark making School of Arts & Communication, Hyderabad, evolved spatially and temporally into an event came to London to attend the MA shows, that both abstracted and encapsulated their participate in seminars at Wimbledon and visit emotional bond with their chosen material. the World Stage Design Exhibition in Cardiff. In CCW research student Jen Wright explains March 2014, Professor Jane Collins, UK project how this connects to her own PhD research: leader, Simon Betts, Dean of Wimbledon, and “I am interested in the haptic, physical nature of Douglas O’Connell, course leader MA Digital drawing and how movement and the physical Theatre, flew to Hyderabad with CCW research interaction with tools onto a surface is used both students to conduct two workshops on Drawto record and to develop deeper cognition. ing and Digital Design with MA Fine Art, Com­ My role as facilitator on the Fine Art drawing part munication and Theatre at the Sarojini Naidu of the UKIERI work helped me gather more School. Both workshops explored how the evidence on the performative nature of drawing digital realm demands a rethinking and remak­ and its key role in communicat­ing and develop­ ing of performance traditions and narratives ing abstract thought”. in an Indian context and opens up the potential The workshops provide a useful model of drawing as performance. of interdisciplinary research and practice as the reciprocity of ideas and influences between


34

Partnerships

fine art and theatre students could be discerned in the outcomes of both groups. The feedback from the students and staff was extremely posi­ tive. Fine art and theatre students speak about this in the film made by O’Connell that docu­ ments the project and which can be viewed on the website: http://sdaukieri.theatreartsuoh.in Professor Ananthakrishnan, project leader in India, and Professor Jane Collins pre­sented a joint paper on the partnership at the Inter­ national Federation of Theatre Research Conference in Warwick in July 2014. The next phase of the project sees the team from Hyderabad return to the UK in September 2014 to work on a collaborative performance event with students from Fine Art and MA Digital Theatre at Wimbledon to be streamed live between the two countries. Bibliography Aronson, A. (2008) ‘The Power of Space in Virtual World’. In: Hannah, D. & Harslof, O., (eds) Performance Design. Copenhagen: Museum Tusculanum Press Beacham, C. (1989) ‘Ideas on a Reform of Our Mise en Scene’. In: Adophe Appia: Essays, Scenarios, and Designs. Ann Arbor: UMI Research Press

Fine Art and Theatre Students investigate spaces for performance on campus in Hyderabad. Photo: Jennifer Wright


Partnerships

Victoria & Albert Museum

CCW continues to develop its research partner­ ship with the V&A through the work of our two V&A research fellows, Professor Carol Tulloch and Dr Linda Sandino. This work includes re­search and scholarship on the history and current characteristics of the V&A as an institution. In October 2013 Dr Sandino, (with Matilda Pye) published the book Artists Work in Museums: histories interventions and subjectivities, the outcome of a two-day international conference at the V&A in collaboration with the Museums and Galleries History Group. Artists Work in Museums brings together artists, historians and museum professionals to explore the history and contributions of artists working in museums as members of staff. It examines how the museum has functioned as a specific site of cultural pro­ duc­tion and subjective engagement for artists and designers in their role as directors, curators, project managers and educators. Drawing on specific case studies and interviews, the essays document the historically contingent, proble­ matic character of the artist museum profes­ sional and his/her agency within the museum system. Dr Sandino has also continued her work on the oral history of curating at the Museum, with current research focusing on textiles and fashion/dress curators.

35

In 2013, Professor Carol Tulloch organized a one-day workshop ‘Dress as Auto/Biography’ at the V&A, which will be developed as a research network. The workshop considered the biog­ raphies of lives through dress, dress as an auto­ biographical statement, the interconnections of auto/biographies, dress and the inclusion of the academic self in dress studies. The workshop discussed this across gender, ‘race’, age and class. The workshop members included V&A and UAL academic and curatorial specialists in dress studies, PhD students and international visiting academics including Sara Chong Kwan, Dr Hazel Clark, Professor Amy de la Haye, Edwina Ehrman, Professor Caroline Evans, Professor Susan Kaiser, Alistair O’Neil, Susan Pritchard, Dr Alison Slater, Dr Nicola Stylianou, Dr Shehnaz Sutterwalla, Professor Lou Taylor, Dr Joanne Turney and Benjamin Whyman. Professor Tulloch is also a member of the Contemporary Caribbean Art and Design Working Group and the Africa Curators Group. On behalf of the latter, Carol Tulloch invited and chaired a lecture given by Professor Jennifer Doyle, the CCW Fulbright Distinguished Chair, as part of the V&A’s Work in Progress seminars. The paper was: The Fist Is Still Up: an essay on resistance, defiance and the sport spectacle.

Great Taste, London. © Matilda Pye with permission of the Victoria and Albert Museum


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Partnerships

Wellcome Trust The Changing Perception of Images Wellcome Window Commission

In autumn 2012 the Graduate School, in collab­ oration with the Wellcome Trust, launched a new platform of collaboration and practise at the meeting point of art, design and science: The Changing Perception of Images. Inspired by the Trust’s funded research into areas including neuroscience and memory, the project was initiated and curated by Sigune Hamann as an opportunity for CCW students from all levels and disciplines to explore the changing ways in which images are perceived. Students were invited to submit installation proposals for the two 11 metre long windows at the Wellcome Headquarters that function as the Wellcome Collection’s ‘third space’: an extension of the innovative displays found in its galleries. The installations reflect theCollection’s inquisitive approach by provoking fresh thinking on aspects of image perception to engage passers-by on the busy Euston Road at day and night with an element of change over the year. Students from Curating, Draw­ing, Fine Art, Graphic Design, Graphic Design Communication, Interior and Spatial Design, Photography, Print and Time-based Media and Sculpture courses engaged with The Changing Perception of Images, drawing on the wide-ranging expertise available at the University and from curators, scientists and archivists at the Trust. The selection panels at the University, which included Jordan Baseman and David Cross, and the panel members from the Wellcome Trust were impressed with the range of ideas presented and the inventive responses to a chal lenging brief. From 48 proposals four projects were chosen to be developed for presentation to the Wellcome Trust: a photographic narrative of figures in a concertina fold by Phoebe Ardent (BA Graphic Design, Camberwell), large pixel­ lated eyes in slow movement by Peter Hudson (BA Graphic Design, Camberwell), a continuous line of irregularly angled mirrors by Jamie Simon (MA Graphic Design, Chelsea) and an installation

encouraging passers-by to call in and listen to a voice describing images from the collections by Lillian Wilkie (MA Fine Arts, Chelsea). The Wellcome Trust launched the winning designs by Camberwell College of Arts students: Phoebe Argent’s installation View1 was installed in July 2013 and was on show until July when it was replaced by Peter Hudsons’s installation Eyecontact2 which will be on view until July 2015. The installations act as a showcase for students’ creativity and new approaches to image research at Camberwell. The award highlights ongoing multi-disciplinary collaborations at the Graduate School which promote exchange between art, design and science to develop new methods and thinking.

1 http://www.wellcome.ac.uk/News/Media-office/Pressreleases/2013/WTP053347.htm 2 http://www.wellcome.ac.uk/News/Media-office/Pressreleases/2014/WTP056862.htm


Partnerships

37

The Changing Perception of Images Windows Commission. Introduction to the event with Luke Currall, Kate Forde, Sigune Hamann, Ross McFarlane, James Peto, Amy Sanders, Wellcome Trust, 2012, Photo: Rafael Camisassa


Journals


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Journals

Bright Light Series Editor: David Dibosa, Snr Research Fellow, TrAIN

Bright Light is a new series of publications focusing on the latest debates in 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 provides a way of seeing how practitioners are giving a fresh perspec­tive on key questions facing designers, fine artists, lens based media practitioners, curators, archivists and critical theorists. Our first issue Implicit Geographies focuses on a range of collections: private or public, professional or amateur, art or design. It looks at the relations between places that objects suggest. In par­ticu­lar, objects in collections bring places together, creating connections that might not otherwise have been seen. New proximities can be forged when objects from distant places are sat side-by-side. Equally, intimacies can be shat­tered when things usually seen back-toback are set at a distance in a collection that renders them unrelated to or disconnected from one another.

Edited by Dr David Dibosa, the issue features articles by Professor Paul Coldwell, Sue Doggett, Dr Edwina Fitzpatrick, Gustavo Grandal Montero, Ann Harezlak, Daisy McMullan and Donald Smith. The Bright Light series provides an oppor­tunity to showcase work by staff across Camberwell, Chelsea and Wimbledon who are developing their research profile. We are interested in people who are just beginning to consider their research work as much as those established within existing research net­works. We would welcome pieces from those engaged in design, theatre and performance as well as from fine art disciplines. Articles will be published at academic standard but the editorial process will support all submissions that provide engaging ideas that stimulate debate.

Bright Light Issue 1: Implicit Geographies (cover image)


Journals

Journal of Visual Art Practice (JVAP) Editor: Chris Smith, CCW Visiting Fellow

The Journal of Visual Art Practice (JVAP) is a forum for debate for the international commu­nity engaged in or concerned with research in fine art and the visual arts more generally. It is concerned with exploring the boundaries of these disciplines and sharing debate on research and creative practices. The journal works within a framework that recognises both the expanding practices that constitute research in the fine and visual arts as well as the increasingly inter­ disciplinary nature of creative practices in the field. JVAP encourages contributions relating to scholarly, pure, developmental, applied and pedagogical research. It welcomes submissions exploring new critical theories of research and practice as well as evaluations of the practical and educational impact of such research. JVAP will support critical debate within and acros

Journal of Visual Arts Practice (JVAP) (cover image)

41

fields. It is peer reviewed but has mecha­nisms for supporting and encouraging new contri­bu­tors. The journal will proactively support docto­ral researchers as well as established academics. JVAP is a referred journal supported by the National Asso­ciation for Fine Art Education.


42

Journals

Journal of Arts Writing by Students (JAWS) Editor: Francesca Peschier, CCW PhD candidate

It is not only an opportunity to take their academic writing to the next level but also to share outcomes and findings across the university. Journal of Arts Writing by Students (JAWS), is the JAWS believes strongly in research as a living first journal of its kind in the UK. It is written, pragmatic entity - it should not languish unread peer reviewed and edited in its entirety by current in a file bending bedroom shelves. It is only students and first year graduates. The journal through sharing and discussion that new ideas was started as an offshoot of the MRes Arts can be allowed to develop and grow. Practice course at CCW Graduate School in 2012. After three issues as a UAL–based publication, www.jawsjournal.com a contract has been secured with Intellect publishing. Their first international professional publication will launching October 2014. Publication in the JAWS journal provides university students with valuable experience of writing for an academic journal article (an essen­ tial component of PhD study or an academic career) as well as circulation and recognition of their research.

Journal of Arts Writing by Students (cover image)


Journals

Moving Image Review & Art Journal (MIRAJ) Editor: Catherine Elwes, Professor of Moving Image Art

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 established academics such as Sean Cubitt, Rachel O. Moore, Jonathan Walley and Janine Marchessault with rising talents including Erika Balsom, Eu Jin Chua and Colin Perry. The advisory board is made up of leading aca­ demics from across the globe such as 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 which in recent years has shifted its position from a marginal and profoundly counter-cultural practice 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: internalised, memorialised, and experi­ enced directly on a daily basis. MIRAJ is com­ mitted to mapping, debating and theorizing the extraordinary growth of the moving image in art which 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. Cognitive scientists are beginning to incor­porate avant-garde practices in their studies of spectatorship. Meanwhile, some of the best

43

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 and encourage exchange of specialist knowledge, thereby devel­op­­ing a more rounded cross-disciplinary field. The fundamental aim of MIRAJ is to reignite debates around the nature of the moving image as a projected and installed pheno-menon 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 inter­ views with individual practitioners. MIRAJ addresses a broad readership that includes an interested public, students, artists and curators as well as scholars. The journal prides itself on its ability to communicate to a range of readers without compromising intel­ lectual rigour and scholarship. www.intellectbooks.co.uk/journals/viewJournal,id=207 MIRAJ was supported by an initial grant from the Kraszna Krausz Foundation and an AHRC International Network Award between 2010–12 Founding Editor: Catherine Elwes, CCW Graduate School, UAL, UK Associate Editors: Sean Cubitt, Goldsmiths, University of London, UK Eu Jin Chua, Unitec, New Zealand Jonathan Walley, Denison University, USA Reviews Editor: Colin Perry, Central Saint Martins, UAL, UK Features Editor: Erika Balsom, King’s College, London, UK Editorial Assistant: Wendy Short, CCW Graduate School, UAL, UK Editorial Board: Rachel O. Moore, Goldsmiths, University of London, UK Janine Marchessault, York University, Canada International Advisory Board: Mark Bartlett, Open University, UK Pryle Behrman, Writtle School of Design, University of Essex, UK


44

Journals

Suzanne Buchan, University of the Creative Arts, UK Ian Christie, Birkbeck, University of London, UK Stuart Comer, Museum of Modern Art, USA Maeve Connolly, Dun Laoghaire Institute of Art, Design and Technology, Republic of 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, University of Birkbeck, London, UK Mark Nash, Royal College of Art, London, UK 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

Moving Image Review & Art Journal (MIRAJ) (cover image), vol. 2, issue 2


Journals

Theatre & Performance Design Co-editors: Professor of Theatre and Performance Jane Collins, CCW Graduate School and Professor Arnold Aronson, Columbia University School of the Arts.

Theatre & Performance Design, a new interna­ tional peer-reviewed journal of sceno­graphy published by Routledge, is due to be launched at the Prague Quadrennial of Perfor­mance Design and Space 2015. Publishing innovative artistic practice alongside theoretical research, the journal will critically evaluate the effect of scenography on the aesthetics and politics of performance facilitating dialogue amongst practitioners, scholars and audience. The journal will publish articles on all aspects of design for performance in: • Theatre • Opera • Dance • Musicals • Musical theatre • Site-specific, immersive and virtual theatres

Seven Sisters Group. Photo: Davy McGuire

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In addition to peer-reviewed articles and visual essays the journal will engage with the practicalities of construction and production by considering the impact of new materials, techniques and technologies on the process and realisation of the performance event. CCW Graduate School Administrator Claire Mokrauer-Madden will contribute to the journal as an editorial assistant, liaising with the editorial team and working in collaboration with her counterpart at Columbia University in New York. tpdjournal@arts.ac.uk


MA Courses


48

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 Social Engagement, Environment, Identities and Technologies. Students from our taught post­ gradu­ate courses are also encouraged to partici­ pate in a wide range of dialogues and events along with research degree students, as well as benefiting directly from the experience and teaching contributions of our prominent professors, readers and research fellows.

MA Conservation Camberwell College of Arts Introduction

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: Art on Paper and Books and Archival Materials. What to expect

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 pre­ servation conservation including risk analysis, environmental parameters, surveys, storage solutions, exhibition preparation, disaster man­ age­ment, digitisation issues and international activities. You will have the opportunity to make site visits to a range of cultural institutions. The Art on Paper pathway includes specialist classes on fixatives and consolidants, pressure sensitive 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 the university research centre Ligatus, which specialises in building 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 focus on detailed


MA Courses

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

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, Print­making, Letterpress, 3D, and Digital Media Resource Centres, as well as the college library. Course leader

Jocelyn Cuming has extensive experience as a book and preventive conservator. Prior to coming to Camberwell she worked first in Rome and then in New Zealand as a private book conser­ vator 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 survey work for the Islamic Museum of Art, Qatar. Study mode, extended full time

MA Curating and Collections Chelsea College of Arts 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.

49

What to expect

Practical skills will sit alongside critical reflec­tion 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 the formation of public, the status of artists in collections and objects and meaning. 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. 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 Collections at Chelsea College bring together the work of key artists and designers from the modern and contempo­rary period in the western art and design. Among them are: 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. Course team

Dr David Dibosa is co-author of Post-Critical Museology: Theory and Practice in the Art Museum (Routledge, 2013). He trained as a curator after receiving his first degree from Girton College,


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MA Courses

Cambridge. He was awarded his PhD in Art History from University of London, for a thesis titled Reclaiming Remembrance: Art, Shame and Commemoration. During the 1990’s David curated public art projects including In Sight In View, a billboard project in the centre of Birmingham, UK, as well as a sculpture park in the West Midlands. From 2004–2008 he was Senior Lecturer in Fine Art Theory at Wimbledon College of Arts, University of the Arts London. He is now Course Leader for MA Curating and Collections at Chelsea College of Arts. Donald Smith is Director of Exhibitions at CHELSEA Space. Study Mode: Full time

  MA Digital Theatre Wimbledon College of Arts Introduction

MA Digital Theatre at Wimbledon engages in contemporary ideas, innovations and transformations in the devising and develop­ ment of cutting edge performance practices. What to expect

The course, which examines the practices which utilise the tools, methods and languages of contemporary digital culture, is designed for highly motivated and creative individuals. Students should want to explore the boundaries of their professional skills through experimen­ tation 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 and the inter-relationship of space and spectator.

You will debate contemporary theatre practice and design by challenging conventional notions of theatre making and examining 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 Arts 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 Arts Theatre, TV and Film Studio and the Digital Media Centre. As part of the CCW Graduate School and UAL, MA Digital Theatre students will be able to benefit from the estab­ lished relationships with and learning resources held with the following institutions: Tate Britain, The British Museum, Ashmolean Museum, The Royal Academy, Sir John Soane’s Museum, The V&A drawing collections. 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 was curatorial lead for New Technology and Performance at the World Stage Design Exhibition 2013 in Cardiff. Study Mode: Full time


MA Courses

MA Drawing Wimbledon College of Arts

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

Archive, Wimbledon Space Gallery, Wimbledon College of Arts Theatre, TV and Film Studio and the Digital Media Centre. As part of the CCW Graduate School and UAL, MA Digital Theatre students will be able to benefit from the estab­ lished relationships with and learning resources held with the following institutions: Tate Britain, The British Museum, Ashmolean Museum, The Royal Academy, Sir John Soane’s Museum and The V&A drawing collections.

What to expect

Course Leader

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 and Dance.

Tania Kovats is a British artist whose practice encompasses sculpture, installation and large scale time-based projects exploring our experience and understanding of landscape. Recent major projects have included: Meadow, a transported wildflower meadow; The Museum of the White Horse, a travelling landscape museum; Tree, a perma­nent installation in the Natural History Museum; British Isles and All the Islands of All the Oceans, two series of drawings; and The Drawing Book, a survey of drawing, the primary means of expression.

Introduction

Students will explore a range of strategies with a view to defining a personal methodology for drawing. You will identify a relevancy and process for articulating a personal view or idea. At its core, practice and making will define the work. The programme promotes collaboration across and between diverse disciplines and courses. The course structure and the develop­ ment of collaborations across disciplines is a distinctive feature of the MA. The course takes as its starting point, divergent practices and stimu­ lates connections between different practices. It subjects through drawing. The course challenges assumptions about the practice and uses of drawing. Students will develop their drawing, discursive skills and agendas through a re-orientation of their practice. Facilities

Students at Wimbledon College of Arts have access to world-class learning resources within the college including: The Jocelyn Herbert Archive, Centre for Drawing, Stanley Kubrick

Study mode, full time

MA Fine Art Chelsea College of Arts 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. What to expect

At Chelsea we create a tough, challenging and stimulating environment within which to re-evaluate and contextualise your practice. You will be equipped to sustain and develop your practice within a highly professional context.


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MA Courses

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 which runs 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. The course is 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 understand the contexts and con­ ditions that shape and frame contemporary art practice. Facilities

You will have access to the following workshops and spaces: • Theatre • Woodwork • Metalwork • Ceramics • Casting • Foundry • Photographic studios • Audio/visual workshops • Bookable project spaces Course leader

Brian Chalkley’s practice is an ongoing discussion about gender, sexuality and identity. He incorporates painting, performance and video in his work, which 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. Study modes, full time and part time

MFA Fine Art Wimbledon College of Arts Introduction

The MFA Fine Art at Wimbledon will support you in claiming your art practice through sus­ tained practical experimentation and contextual research. What to expect

The course is divided into three units. It is 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 and you will have access to the MFA Fine Art studios on these days. During 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 an existing job. The two year duration of the course gives time for a sustained enquiry into your art prac­ tice. 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. The curriculum is based on the recent Arts Council England’s recom­mendations for the skill-sets required by both artists and arts organisations in order for them to flourish. You will create a web folio instead of a formal academic written paper.


MA Courses

This will contextualise and showcase your artwork. You will learn how to set up websites and how to use your online presence to profile your work effectively. Facilities

Students at Wimbledon College of Arts 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 Arts Theatre, TV and Film Studio and the Digital Media Centre. As part of the CCW Graduate School and UAL, MA Digital Theatre students will be able to benefit from the estab­ lished relationships with and learning resources held with the following institutions: Tate Britain, The British Museum, Ashmolean Museum, The Royal Academy, Sir John Soane’s Museum and The V&A drawing collections.

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you shape engaging and imaginative design solu­ tions through material, media and technologies. 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 organise 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 and communicate content, develop prototypes and engage with audience testing. Facilities

Course leader

Dr Edwina Fitzpatrick is a London based artist. She is involved with Creative Transition, a cross CCW Graduate School group of artists, researchers and students who aim to develop new models for a sustainable university. Dr Fitzpatrick has recently completed her AHRC funded collaborative practice based PhD during which she worked with Glasgow School of Art and the Forestry Commission at Grizedale in the Lake District. There, she explored how sited artwork is affected by broader contexts such as climate change. Dr Fitzpatrick'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. Study mode, extended full time

MA Graphic Design Communication Chelsea College of Arts

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 audiovisual work­ shops for sound, moving image and profes­sional standard photography studios. 3D workshops include wood, metal, ceramics and laser cutting. You will also have privileged access to the unique museum and archive collections for art and design which are held across the many sites at UAL. Course leader

Sadhna Jain has previously led the Interaction Design and Digital Media subject area at Central St Martins for MA and BA Graphic Design. Her personal research and practice intersects graphic data and language with interactive expe­ riences. Research works have been presented at various sessions of the International Symposia of Electronic Arts as well as design and media conferences in Toronto, Sao Paulo and the UK

Introduction

Study mode, full time

We encourage a broad and diverse approach to design thinking and design practice to help


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MA Courses

MA Interior & Spatial Design Chelsea College of Arts Introduction

You will explore conceptual spatial concerns; where space-making is conceived as an area of study that is distinct from but complementary to architecture.

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, ceramics and a foundry along with an audio visual work­ shop for working with sound and moving image and professional standard photography studios.

What to expect

Course leader

You will engage with notions of how we inhabit space and develop sensibilities about inter­ vening with existing architectural structures or situations. While we employ the language of architecture, our expertise is in the experiential aspects of what it is to inhabit and interact with our spatial environment. This can encompass interior and exterior situations, with outcomes ranging from the functional design of built structures or furniture to fine art installations and film. The course offers the possibility to pursue two areas of concern, though you may well combine both:

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 and has practiced and taught architecture. Dr Wilder now makes site-responsive sculptural installations, often including video projection. He has been published extensively in a variety of journals. Study mode: Full time

MA Textile Design Chelsea College of Arts

Research

Here you will develop experimental projects that question the boundaries between architecture, design and fine art. This mode is particularly appropriate for students coming from a fine art or architectural background who want to explore more conceptual notions of spatial design.

Introduction

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

Professional Practice

This area of study emphasises site investigation and spatial resolution, letting 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 developing 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 at Chelsea. Chelsea library offers a wide range of collections,

On this studio-based, practice-led course there are numerous opportunities for developing and collaborating on pioneering work within the textile industry. Your study will be 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 for 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


MA Courses

or re-use. Throughout the course, you will 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 facilities which include a print and dye lab, sewing, knitting, weaving and digital print workshops. In addition to these you will also have access to the shared work­shops 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 explo­ ration of Tencel fibres exhibited at the Science Museum, weave product development in Assam, India to contributor to the TED Ever and Again by upcycling interior products.

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practice. This will be principally in the fields of stage 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: • 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 theatre maker to practice and test your ability to negotiate and communicate. • At an advanced level take part in group critiques and formative peer assessment. • Maintain an online research folio to develop a professional ‘shop window’ for your ideas. • Work closely with a mentor who will challenge and advise you throughout the development of your final self-motivated Action Research Project

Study mode, full time Facilities MA Theatre Design Wimbledon College of Arts 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 an auteur. What to expect

You will be expected to integrate contemporary scenography in established modes of industrial

Students at Wimbledon College of Arts 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 Arts Theatre, TV and Film Studio and the Digital Media Centre. As part of the CCW Graduate School and UAL, MA Digital Theatre students will be able to benefit from the estab­ lished relationships with and learning resources held within the following institutions: Tate Britain, The British Museum, Ashmolean Museum, The Royal Academy, Sir John Soane’s Museum and The V&A drawing collections.


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MA Courses

Course leader

Michael Pavelka is an award-winning interna­ tional scenographer who has designed over 150 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 Oboe 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 Arts and is a Reader in Theatre Design/ Scenography at UAL. He connects his teach­ing work to his professional practice. Study mode, full time

MA Visual Arts: Book Arts Camberwell College of Arts Introduction

Camberwell was the first college in the UK to provide specialist postgraduate study in the field of Book Arts. As advances in electronic infor­ mation media free the book from its traditional role as a container of information, this course focuses on debates concerning the cultural, creative and individual functions of the book and its increasingly important role in contemporary practice. It is a unique opportunity for students from a range of backgrounds to engage with aspects of the book such as sequence, spatial poetics, structure and materials, both through printed multiples or the sculptural one-off. Participation in group exhibitions and Book Fairs enable the testing of ideas in relation to audience. 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. Work-in-progress sessions allow for supportive critique. You will develop your research skills, professional practice and an 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 V&A. You will have the chance to explore the expanded book in a display or installation by showing your work in public exhibitions. Facilities

Workshops in letterpress, bookbinding, mono printing, relief, screen printing and computer generated processes give you access to both traditional and digital facilities. 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 lising in Printmaking, at Central Saint Martins. Her work focuses on the development and pro­duction of artists’ books under the imprint of Gefn Press. Her writing has appeared in HOW(2) internet journal of Contemporary and Innovative 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, USA, Bibliotheque Nationale, France, and Museum van het Boek, Netherlands. Study Modes, full time and extended full time


MA Courses

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 pursue 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 back­grounds 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 visit collec­ tions, 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. You will explore collec­tively both the meaning of making and the human-object relationship. A wide range of works will be produced during the programme and for the final show, which has 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 develop­ ment programme ensures you leave with your practical skills well honed.

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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

Dr 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. Dr Tsutsumi 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.   Study mode: Full time and extended full time

MA Visual Arts: Fine Art Digital Camberwell College of Arts Introduction

This Masters course is an invitation for students to join a research project that explores and defines 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 tech­nology but presents it as a tool to facilitate ideas, placing emphasis on 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. What to expect

Facilities

You will have access to the 3D Resource Centre, a purpose built centre comprising 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 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


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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. At the end on the course 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. 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 2 week residencies. These 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. Course leader

Jonathan Kearny has extensive experience of exhibiting worldwide and teaching in a variety of settings. Recent exhibitions have been in China, Brazil and London. For nine 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 which shows how digital tools can enhance both learning and art practice. Study modes, full time, extended full time and online

MA Visual Arts: Illustration Camberwell College of Arts Introduction

Illustration in the 21st century demands strongvoiced entrepreneurial image-makers who can tell their own stories. Camberwell College of Arts has a long tradition of imaginative illustrative art. 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 experimental and practical workshops, discussion groups and one-to-one tutorials, you will develop a proposal for an ambitious and engaging project. You will test and imple­ment your critical and practical skills, as well as considering how your practice should develop and any new directions you may choose to take. You will attend studio based practitioner visits and lectures. Shared lectures across the three colleges draw upon the richness of the research within the college and across the Graduate School. Drawing trips and engagement with the creative environment which London offers are a part of the course. You will be encouraged to take part in group exhibitions, competitions and commissions 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


MA Courses

supported by technical facilities including screen-printing, etching and lithography, a letterpress, 3D workshops and digital video editing suites.

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autographic pro­cesses and new technologies. The programmes of study are designed to place the practice of printmaking in both a contem­ porary critical context and in a wide historical perspective.

Course leader

Janet Woolley is an award-winning illustrator and 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 including Rolling Stone Magazine, Time Magazine, Sports Illustrated, The 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.

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 development and completion of your per­ sonal programme, attention will be given to personal focus, artistic direction and application. The final work presented in the form of a public exhibition at the college.

Study modes, full time and extended full time

The Printmaking workshops will give you access to both traditional and digital printmaking facili­ ties including etching, aquatint, lithography (plate and stone), mono printing, 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.

Facilities

  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 suc­ cess 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

Course leader

Johanna Love comes to Camberwell after having completed 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, Artspace Gallery, Seoul, Grey Matters, Aqffin Gallery London, 6th Graphic Biennial, Novosibirsk State Museum, Russia. Study modes, full time and extended full time


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MA Courses

New for 2015–16 * MA Painting Wimbledon College of Arts

a set day. We will write to you informing you of our decision usually around two to three weeks after your portfolio review and interview.

Building on Wimbledon’s strong tradition of painting within a medium specific studio envir­ onment, this new one year postgraduate course will encourage students to scrutinise their practice through an exploration of methodology and context. Through their practice students will explore and question what it means to make paintings today and how their work is situated within a broader historical and contemporary context.

Application forms

* Subject to validation Keep checking the website for details.

How to Apply 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 (please refer to relevant course web pages for portfolio format submission requirements). Appli­ cants will be shortlisted at this stage against the entry requirements and selection criteria for the course. Interview

If you have been short-listed and are invited to interview, you will be asked to attend a college on

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

UK/EU applicants: 1 July 2015 International applicants: No official deadline but you are advised to apply as soon as possible. Tuition fees

For the most up-to-date information please visit: www.arts.ac.uk/study-at-ual/tuition-fees/


MA Courses

Scholarships & bursaries

The CCW Graduate School has a range of bursaries and scholarships that you can apply for to help fund your postgraduate study. Hundreds of new scholarships have been announced for 2014/15. The scholarships will benefit a large number of our students from diverse backgrounds and amount to almost £2 million. Scholarships available to CCW postgraduate applicants include: The Caspian Arts Foundation Scholarship, Ashley Family Foundation Scholarship, Cecil Lewis Sculpture Scholarships, Frank Bowling Scholarships, Hackmey Family Scholarship, ISH/UAL Graduate Scholarships, John Hoyland Scholarship, Mead Scholarships & Fellowships, Neal’s Yard Remedies MA Textile Design Scholarship and the Patrick & Kelly Lynch Scholarship. Vice-Chancellor’s scholarships UK

For 2014/15 this scholarship will be awarded to up to 250 postgraduate students. The scholarship covers half the tuition fee and is available to UK students who are able to demonstrate their need for financial support. These scholarships will be awarded to full-time masters degree students from the UK who are starting their course in January 2015. Vice-Chancellor’s international scholarships

New for 2014/15, this scholarship covers the full tuition fee and living costs and is available to ten masters degree students from developing and conflict-affected countries. Funded by the university, these scholarships are some of our most prestigious awards. They aim to fully support ten students from countries outside the G20 group who are on full-time masters degrees starting in January 2015. We particularly welcome applicants from conflict-affected regions. The following bursaries are also available to CCW postgraduate applicants: The Stanley

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Picker Charitable Trust Bursary, Stationers’ Foundation Award, UAL Patrons’ Bursaries and the Wimbledon College of Arts Trust Bursaries. Further discount for UAL alumni

All Home/EU University of the Arts London alumni students who are progressing onto a Masters course who have previously successfully completed an undergraduate level, PgDip or PgCert course at the university are entitled to a £1000 tuition fee discount. For more information on the funding oppor­ tunities available to UAL applicants please visit: www.arts.ac.uk > Study at UAL > Scholarships, Bursaries & Loans


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Profile: Ippolita Valentinetti Current student: MA Theatre Design

I graduated in November 2012 with a BA degree in Theatre Set Design from the Art Academy of Brera in Milan. I moved to London in February 2013 eager to engage in a specialist course and proactive about finding work experience in my field of study.

plays: Malvolio, Twelth Night; Banquo, Macbeth; Caliban, The Tempest and Peaseblossom, A Midsummer Night’s Dream. I chose Caliban from The Tempest, as I was especially interested in Shakespeare’s last plays, his Romances, having worked on one of them for my BA disser­ tation.

In parallel with the course projects I’m continuing my personal research, which started When in London, I started searching for the with my BA dissertation, on the importance right MA course. I did my online research and of images and visual memory in my work process. went to the open-days. I applied to three different Specifically, on how iconographic research can courses but eventually decided that the MA in help the designer in constructing the relation­ Theatre Design at Wimbledon College of Art ships between the space and their design and the (WCA) was the right direction to take; I wanted to performer or actor and their costume. define and enhance my research in the field of set and costume design and have the opportunity to build future working collabo­rations. The MA in Theatre Design at WCA offered all these prospects. An MA is challenging and intense; you are put in a position where you must constantly question your practice against your theoretical research and vice versa. For our first Theatre Design project we had to pick a re-invented monologue by Tim Crouch (an actor and director) from one of Shakespeare’s characters. Crouch re-creates through monologue the sub plot of a lesser known character from four popular Shakespeare


Set design sketch for the monologue ‘I Caliban’ by Tim Crouch, Ippolita Valnetinetti

MA Courses 63


Graduate Diplomas


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Graduate Diplomas

Graduate Diplomas Graduate Diploma Interior Design Chelsea College of Arts Introduction

The Graduate Diploma is a full-time one year programme equivalent to the third year of an interior design undergraduate course. It will provide you with the skills and experience required for a career in the field of interior design or for further study at Masters level. What to expect

Through this course you will develop a flexible open-mindedness when thinking about interior design and you’ll be given the opportunity to critically engage with contemporary design approaches. We will show you how to connect architecture and interior design in a variety of ways, such as through designing, writing, visually communicating and researching. The course is delivered in three units which help you build up the skills and expertise you need to progress. These units are: • Commodity and Design • The Negotiated Design Programme • Professional Context You don’t have to come from an art and design background to study on this course but you do need to have developed some drawing skills. Once on the course you will be able to combine the skills you already have, whether business, marketing or law, with the interior design skills you’ll gain, making you even more employable. During the year students are involved in live projects. One of these, the making of a Christmas-themed installation for a highly regarded hotel in Westminster, has become an annual event.

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. We have excellent 3D workshops including wood, metal, ceramics and a foundry along with an audio visual workshop for working with sound and moving image and professional standard photography studios. After your diploma

On completing this 30-week course, you can count on feeling confident about working as a professional interior designer. The course tutors will discuss your future plans at every stage to ensure your work provides you with the best opportunity of success when engaging in your chosen path. The course will certainly put you at an advantage if you are interested in graduating to the MA in Interior and Spatial Design at Chelsea. Many of our graduates take this route. Other graduates continue with education in other related disciplines, while others gain employment with architecture and interior design companies worldwide. Course leader

Josef Huber is a London based designer who completed his studies in Architecture & Interiors at the Royal College of Art. He is a member of the BIID and a chartered member of the RIBA, for which he is also an RIBA Part 3 supervisor. Current practice work includes residential, retail and restaurant projects in the UK and inter­ nation­ally. His teaching work has a practical edge and ranges from the making of conceptual physical objects to advanced 3D virtual design. Study mode, full time


Graduate Diplomas

New for 2015–16* • Graduate Diploma Fine Art

Chelsea College of Arts • Graduate Diploma Printmaking Camberwell College of Arts • Graduate Diploma Illustration Camberwell College of Arts • Graduate Diploma Graphic Design Chelsea College of Arts * Subject to validation Keep checking website for details. How to Apply Entry requirements

A BA (Hons) degree or equivalent with evidence of ability in art or design. The programme is the equivalent of the final year of a degree programme preparing students for professional employment or higher level study. Applicants who do not have English as a first language must show proof of IELTS 6.0 (with a minimum of 5.5 in each skill), or equivalent, in English upon enrolment. The college also takes into consideration prior learning and experience, and alternative qualifica­tions. Before joining this course you must have some experience or have completed courses in architectural drawing and model making. Application deadlines

UK/EU Applicants: 31 August 2015 International: No official deadline, but you are advised to apply as soon as possible. You can apply to as many part-time courses and Graduate Diploma courses within University of the Arts London as you want.

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Research Degrees


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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. Our research activities are grounded in the port­ folio 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 Social Engagement, Environment, Identities and Technologies. 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 • Practice-led and textual research on archives and collections • 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, masterclasses, weekly lecturers and events.

CCW also runs a Graduate Teaching Scheme which offers an introduction to teaching courses to all PhD students with the opportunity to work as Graduate Teaching Assistants with students and staff on our taught courses. This scheme aims to provide PhD students with skills and opportunities to teach while enhancing research ethos awareness in the taught course curriculum. Entry requirements

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 pro­ fessional 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

CCW Research Degree Supervisors

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• Dobai, Sarah  Photography, film, video, narrative, portraiture and billboards The following is a list of CCW academic staff • Donszelmann, Bernice  Fine art theory currently engaged in research degree supervision. and practice, architectural space and wall This list is updated on an annual basis in installation relation to the matching of supervisory expertise • Earley, Rebecca  Eco-design, fashion, textiles, new textile technologies and contemporary to enrolled research students. craft practice • Elwes, Catherine  Artists’ film and video, • Addison, Gill  Fine art and expanded docu­ men­tary practices feminist art and the wartime SAS • Armstrong, Esther  Scenography and the pre­ • Fairnington, Mark  Fine art painting sentation of national identity through design • Farthing, StephenDrawing, pedagogy and Asbury, Michael   Art history, theory, cross disciplinarity • modernism and contemporary art in Brazil • Fitzpatrick, Edwina  Sited artwork and mutable sculpture, living environment, • Baxter, Hilary  Costume, theatre design and costume in public performance mutability and change • Bradfield, Marsha  Authorship, subjectivities, • Goodwin, Paul  History and theory of art genre studies, metanarratives, art research, and curation collaborative cultural production and the • Hamann, Sigune  Art and image media practice ‘work of art’ in relation to ‘the art of work’ • Hogan, Eileen  Fine Art, painting, portraits, • Beech, David  Contemporary art practices and debates, the public sphere and politically book arts, archives and Jocelyn Herbert. engaged practices • Ingham, Mark  Fine Art, installation, photography sculpture and moving image • Blacklock, George  Fine art, painting and abstract pictorial space • Johannknecht, Susan  Book Arts and the development and production of artists’ books • Boyce, Sonia  Art as social practice, fine art practice and drawing under the imprint of Gefn Press • Chesher, Andrew  Fine art, documentary • Kikuchi, Yuko  Art, design and craft history in practice, avant-garde music, structures and Britain, Japan and Taiwan. Modernity and na­ practices tio­nal identity in non-western visual cultures • Coldwell, Paul  Printmaking, sculpture, • Maloney, Peter  Parallel spaces, virtual digital art, installation, memory and the work reality and simulation, media arts, models of Morandi and visual thought/idea visualisation • Collins, Jane  Performance, identity, theatre • Melvin, Jo  Archives, archive curation and design and scenography exhibition, interviews, oral histories, • Cross, David  Fine art, context specific sculp­ conceptual art, artists writing, artists’ books tural installation and photography and the magazine as exhibition site • Cummings, Neil  Critical practice, contem­ • Murdoch, Sadie  Fine art, the photographic porary creative practice, art and social process, archive, photography, drawing, architectural critical practice and digital technology models and video • Dawson, Elizabeth  Costume interpretation • Newman, Hayley  Performance and ‘liveness’, and dress history relationship between performance and its • Dennis, Jeffrey  Fine art, painting, drawing, documentation meaning and process in contemporary • O’Riley, Tim  Fine Art, optical imaging and computer technology painting • Osbourne, Richard  Philosophy and cultural • Dibosa, David  Spectatorship, exhibitions, museums and curating, migration cultures studies and art theory


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Research Degrees

• Pavelka, Michael  Theatre design and scenography • Pickwoad, Nicholas  Book and library conservation, devising new techniques and methods to document material • Quinn, Malcolm  Aesthetics and politics • Sandino, Linda  History and theory of the applied arts, the role of narrated life stories and identity formation of practitioners in creative industries • Scrivener, Stephen  Collaborative design, computermediated design, user-centred participatory design and 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 and curating • Throp, Mo  Fine art, curating, teacher identity, subjectivity, feminism, and psychoanalysis • Tulloch, Carol  Dress and textiles associated with the African diaspora, material and visual culture, writing and curating • Velios, Athanasios  Computer applications to conservation, digitisation, digital preservation, and 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, instal­la­ tion, film narrative and theory, spectator­ship, phenomenology, performative writing, subjectivity and feminism • Wilder, Ken  Projective space, installation art, video sculpture, spatial practice and the philosophy of art Enrolled Research Degree Students

• Child, Emmeline  Investigating closed loop garment manufacturing for large-scale production through design; Earley, Rebecca • Grau Vidal, Altea  Unmasking conventions: a re evaluation of the concept of the double page spread; Coldwell, Paul

• Harvey, Bridget  How can Re-Making and Repair Function as both Political Action and Design Strategy?; Earley, Rebecca • Namazi, Mohammad Hossein  Timing in kinetic art as indicator for participation; Scrivener, Stephen • Peschier, Francesca  Theatre Design in Regional Theatre: Realising the Visual at The Liverpool Everyman and Playhouse 2003– 2015; Collins, Jane • Yamamoto Hiroki  Re-presenting the periphery: Art for the socially marginalized; Kikuchi, Yuko Registered Research Degree Students

• Douglas, Lorrice  ‘Talking by Lightning: Surface and Illumination in Constructed Space; Blacklock, George • Gialdini, Anna  “Alla greca”: A Historical, Cultural and Material Analysis of Greek-style Bookbindings in Renaissance Venice; Pickwoad, Nicholas • Gomez-Mejia, Lucia  Multiple Voices, Multiple Fragments: Polyphony and Silence in Arts based Research; Sandino, Linda • Gotti, Sofia  Counterculture in Pop – South American Art in the 1960s; Asbury, Michael • Gray, Victoria  Towards a Kinesthetic Universe: Mechanisms of affective perception and the politics of affective registers in performance; Newman, Hayley • Helyar-Cardwell, Thomas  Still Life & Death Metal: Painting the Battle Jacket; Fairnington, Mark • Hopkins, Sam  An epidemic of perspective: a practice-based exploration of the potential of digital media platforms to re-imagine a national narrative in Kenya; Cummings, Neil • Kambalu, Samson  The aesthetics of vulgarity in Meschac Gaba’s museum of contemporary African Art; Cummings, Neil • Kheirkhah, Maria  ‘Scheherazade Emerging (2000–2012): Reconstructing the Oriental Female Other in Contemporary Western Visual Culture’; Newman, Hayley


Research Degrees

• Koskentola, Kristiina  Interconnected In-Between: On the dynamics of abjection, temporality and location in a nomadic art practice; Walsh, Maria • Lee, Jin Ah  Mapmaking through Drawing Practice: How Drawing can Help us to Observe Territorial Borders; Cross, David • Lee, Keun Hye  Developing space design through ‘smart’ materials: How everyday repetition reflects on space design within a Korean contemporary context; Wilder, Ken • Locke, Lana  Antagonistic space and the creative and destructive mobilisation of objects; Beech, David • Lydiat, Anne  If the ship is a paradigm of a Heterotopia, how can gendered art practices inform discourses in relation to this trans­ gressive space?; Quinn, Malcolm • Madanipour, Masoumeh  Identifying PersianIslamic Book-Binding Structures: A Detailed Survey of the Manuscripts from the Library of the Wellcome and the Astan Qods Razavi Library; Pickwoad, Nicholas • Manchester, Elizabeth  From the inside out: Models of language from the vagina; Baddeley, Oriana • Mazzucchelli, Cristiana  Tropical modernism: Reworking modernity from the margins; Asbury, Michael • Megaw, Andrew  19th Century British Photographically-Illustrated Books, from the 1840s to the mid-1870s, considered as Historical Artefacts; Pickwoad, Nicholas • Moloney, Donal   An Analysis of ‘Gestational’ Painting Processes used in Representational Painting; Sturgis, Daniel • Newall, Amanda  Institutional Critique as Practice-as-Research in Arts Education; Beech, David • Noble, Susan  Conversation Pieces: Collaborative Textile Craft Practice; Earley, Rebecca • Phelps, Sharon Kim  Agnes Martin: Painting as Making and its Relation to Contemporary Practice; Dennis, Jeffrey • Saraceno, Vanessa  Sustainability: A New Sensitivity in Contemporary Art; Cross, David

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• Schwager, (Louis) Scott  The Relationship between Visual Arts, Performing Arts and Curatorial Areas: Implications for Collaboration and Co-authorship; Wainwright, Chris • Smith, Caroline Ann  Acting Silent: New Perspectives on Staging Non-Speech • in Performance; Collins, Jane • Vickers, Anna  Revealing and concealing in post 1970s painting; Faure Walker, James • 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 • Y’Barbo, Joshua  Site-specific Intervention within Art Education Institutions; Beech, David Confirmed Research Degree Students

• Akca, Deniz  The Female Body and Other Identities of Istiklal Avenue; Walsh, Maria • Alaluusua, Elisa  Sketchbooks: the Role of a Sketchbook as Part of Creative Strategies used by Artists and Designers; Scrivener, Stephen • Andersdotter, Sara  Choking on the Madeleine: encounters and alternative approaches to memory in a contemporary art practice; Ingham, Mark • Arango Velasquez, Maria  Enduring drawing acts: experiencing the Colombian conflict in the every day; Baddeley, Oriana • Aspinall, Matilda  Unpicking: Historical refashioning skills as a strategy for sustainable clothing design; Sandino, Linda • Baglietto, Francesca  Curating in Global Networks: (Counter) Narrative Environments Unfolding in Hybrid Exhibitionary Spaces; Cummings, Neil • Ballie, Jennifer  e-Co-Textile Design: How can textile design and making, com­ bined with social media tools, achieve a more sustainable fast fashion future?; Earley, Rebecca


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Research Degrees

• Burford, Sam  Is using 3D rendering Software Photography?; Coldwell, Paul • Campagnolo, Alberto  Transforming structured descriptions to visual repres­en­ tations: an automated visualization of historical bookbinding structures; Velios, Athanasios • Carden, Jessica  Contemporary Visual Repre­ sentations of the Non White Figure in the Arctic Landscape: British Colonial Construc­ tions of the Heart of Whiteness and the Black– White Binary as Fetish; Tulloch, Carol • Choy, Gerard  Sounding Chinese: Tracing the Voice of Early 20th-Century to Present-Day Transnational Chinese; Kikuchi, Yuko • Christouli, Vivetta  Site-Specific Art as an exploration of Spatial and Temporal Limita­ tions; Asbury, Michael • Desvoignes, Olivier  Towards a ‘horizontal pedagogy’ through collaborative projects in an expanded field of art; Cross, David • Donkor, Kimathi Kewesi  Africana Unmasked: Fugitive Signs of Africa in Tate’s collection of British Art; Dibosa, David • Dougal, Sarah-Jane  Exploring a Performative Approach to Drawing: Using Drawing to Investigate the Limits of the Experience of the Material Body; Baseman, Jordan • Dover, Annabel  Bodhan Litnianski and the Souvenir: A Study of Nostalgia in the Jardin du Coquillage; Fairnington, Mark • Edwardes, Christian  Making Space. Towards a Cartography of Imagined Spaces through Fine Art Practice; O’Riley, Tim • Elliott, Katie  A Practice-Led Investigation of the Significance of Costumed Bodies through a Study of Tanztheater Wuppertal; Collins, Jane • Georgaki, Maria  The ILEA/Camberwell Collection and the Pedagogies of ‘Good Design’ and ‘Learning-through-Objects’; Sandino, Linda • Goodyear, Alison  Privileged, unique and temporary: interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice; Quinn, Malcolm

• Guarino-Huet, Marianne  Knowledge ex­change and artistic practices with a peda­ gogical dimension: a vector for change; Cummings, Neil • Guerrero Rippberger, Sara Angel  Parallels in the Identity Politics of Latin American and Middle Eastern Art, 1960s – Present; Baddeley, Oriana • Hackemann, Rebecca  Not on the Plaza: Critical Strategies for Permanent Public Art in New York; Quinn, Malcolm • Hetayothin, Chanya  Thai Shadow Puppets: An Analysis of Nang Talung as a Source for Animation; Faure Walker, James • Hodgson-Teall, Angela  Drawing on the Nature of Empathy; Quinn, Malcolm • Jump, SophieThe Theatre Designs of Motley and Jocelyn Herbert, 1935–65; Collins, Jane • Kassianidou, Marina  Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness; Dennis, Jeffrey • Konopka, Jennie  The Sculpture of Constantin Brancusi at Tirgu Jiu and the Concept of a Processional Route; Quinn, Malcolm • Long, Catherine  A feminist dialogue with the camera; Elwes, Catherine • Lopez de la Torre, Ana Laura  Living together: The artist as a neighbour; Scrivener, Stephen • McDonnell, Amy  Why do we Associate?: Artists’ Group Work between Cuba and the UK; Asbury, Michael • Menezes, Caroline  Smoke Sculptures: How to map the ‘aesthetical experience’ of post-Duchampian art?; Asbury, Michael • Montoya Ortega, Marcela  Re-situating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicaness; Baddeley, Oriana • Nunez Adaid, German Alfonso  The Emergence of Digital Art; Asbury, Michael • Pelling, Kate  Select Reject Reconfigure: Editing Speech in Artists’ Direct Address to Camera; Newman, Hayley • Rabourdin, Caroline  Spatial Translations in Paris and London: On Place, Duality, and the ‘Situatedness’ of Language; Donszelmann, Bernice


Research Degrees

• Rapti, Stavroula  Chelating agents for removing iron corrosion products from dry composite objects of Cultural Heritage; Velios, Athanasis • Reid, Imogen  Between the Viewer and the Screen; Walsh, Maria • Ricketts, Michael  Encounters and Spatial Controversies; Cummings, Neil • Rowe, June  Sculpting Beauty: A Cultural Analysis of Mannequin Design and the Shaping of Fashionable Feminine Silhouettes Hogan, Eileen • Scott-Cumming, Trish  Socialising the Archive: Art and Archival Encounters; Hogan, Eileen • Sivaraman, Deepan  Spatial identities and visual language in Indian theatre; Collins, Jane • True, Deborah  Located Narrative: An interdisciplinary ‘located narrative process’ that explores and develops a methodology to inform site-specific contemporary art practice; Quinn, Malcolm • Tan, Bridget  Gestures and Acclamations: Some Assembly Required; Quinn, Malcolm • Threapleton, James  The Corroded Surface: Portrait of the Sublime; Sturgis, Daniel • Tremlett, Sarah  Re: Turning from graphic verse to digital poetics; Throp, Mo • Vuletich, Clara  An Investigation of Sustain­ able Textile Design Practice and Values in the Fashion System; Earley, Rebecca • 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 • Megaw, Andrew  19th Century British Photographically Illustrated Books, from the 1840s to the mid-1870s, considered as Historical Artefacts; Pickwoad, Nicholas • Yale, Madeline  Import/export: the rise of art photography in the Middle East – 2011; Baddeley, Oriana

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Completed Research Degree Students 2013/14

• Ahmed, Osman  PhD Documenting the Kurdish Genocide – Anfal (1988) – Through Drawing; Quinn, Malcolm • Brew, Angela  PhD, Drawing on the nature of empathy; Osborne, Richard • Romero Ramirez, Martha Elena  PhD, Limp, laced-case binding in parchment on 16th-century Mexican printed books; Pickwoad, Nicholas • Ross, Michaela  PhD, The artist-as-educator: dialogue, community and the institutional site; Scrivener, Stephen • Splawski, Piotr  PhD, Japonisme in Polish Pictorial Arts (1885–1939); Watanabe, Toshio • Stylianou, Nicola  PhD, Producing and Collecting for Empire: African Textiles in the V&A 1852–2000; Watanabe, Toshio • Lori, Ope Sarah  PhD, The Oppositional Gaze: Contemporary image-making practice and the implications of skin colour ideals; Tulloch, Carol • Mrdalj, Natasha  Mphil, In search of a home: a Serbian identity, the art of exile and the representation of otherness; Watanabe, Toshio • Christoforatou, Maria  Mphil, Narratives of Home and Displacement in Contemporary Art Practice; Dibosa, David


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Research Degrees

Profile: Bridget Harvey Current PhD student

Studying for a research degree was an ambition of mine. I wanted the time away from my pro­ fessional practice to explore my ideas and work on a theoretical level and also a practice level. I was looking to develop design strategies from my own practice and experience in an expanded field. Since starting my practice based research studies at CCW I have found a deeper under­ standing of my methods of making and what it means to practice in this way. Coming from a design and craft background and working as a freelance maker, I started out feeling uncertain of how to be a research student. I explored ideas within my practice, establishing ways of working with the support of my supervisors

and the community at the TED research group where I am based. One of the reasons I chose to study at CCW was because of the community of research practitioners here and the different approaches to practice based research. Focusing my studio practice, using it and continuing to exhibit my work has been a vital part of the course for me, both within the college structure, showing with other students and also as part of my professional career. Receiving AHRC funding to support my studies has also been of immense benefit, allowing me to immerse myself in both my practice and my research and understanding both their marriage and divergences. Ultimately I wish to work as a designer maker, focusing on practice based research, manifesting ideas in response to that which I see around me.

Monkey necklace, Bridget Harvey, wood, cotton, approx. 1800 chopsticks, hand cut, dyed, drilled, polished and threaded, hand braided cotton cord, 2013


Research Degrees

Profile: Dr Ope Lori

Prior to the PhD I was on the MA Fine Art course based at Chelsea College of Arts. Making and exhibiting as a professional artist was a primary focus of the course, but for me, I knew I did not want to stop after the MA. One year was not enough to fully engage with some of the key themes running through my practice. The poli­ tics of identity, specifically in relation to race and gender in the female body, have always been a deep personal concern. Choosing to do a practice-led PhD was the most appropriate decision. I decided to stay at CCW Graduate School because of the wealth of scholars at the research centres who were aligned to the themes that I was interested in. I quickly affiliated myself with TrAIN (Transnational, Art, identity and Nation), a centre whose aims for working with internatio­ nal art and questions around identity were

After Newton, Ope Lori, 2013

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particularly strong. The centre gave me great opportunities to get involved with the research community and give something back. They funded two national doctoral conferences which I co-facilitated in 2012 & 2013. They also helped to fund my solo exhibition I Want Me Some Brown Sugar in 2013. I have thoroughly enjoyed being part of the research community and taking advantage of all the opportunities that being a PhD candidate comes with. I traveled to New York and Washington DC through the CCW Graduate support fund to present a paper at two confer­ ences and to also carry out interviews for my work. These are great opportunities that I recommend to all students to take advantage of. I am now looking for any Post-Doctoral opportunities, so that I can continue with my research interests. Completing the PhD has made me realize that it was only the beginning.


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Research Degrees

Profile: Marsha Bradfield Post-doc Research Fellow

In my work as an artist, curator, writer, educator and researcher, these aspects of my practice reciprocally inform each other. I tend to approach curating from an artistic perspective, engage artistic practice with the preoccupations of a researcher and so on. These interdisciplinary moves enable messy and even intractable knowledge production. Through this I inves­ tigate the expansion of authorship producing artworks but also using these to make other things happen: insights, value/values, relation­ ships and opportunities for extending how art/ authorship is practiced and perceived. So instead of a signature style, it’s a core question that organises my cultural production: ‘what is art able to do and to be?’ I work with others to explore this through co-authoring events, artworks, exhibitions and publications. I am a member of Critical Practice (Chelsea College of Arts) and am currently working with this research cluster to investigate (e)valuation as a dynamic process

of valorisation. This long-term and wide-ranging project is unfolding as a season of research events that will culminate in a Market of Evaluation in the spring of 2015. As a cross between an ancient bazaar and a trade fair, this market will platform complex and contradictory practices for pro­ ducing, disseminating, harnessing and eroding value/values. My work with Critical Practice anchors my post-doctoral research project. It explores the economy/ecology of collaborative cultural pro­ duction and the creative practice of brokering value at the intersection of environmental stew­ ard­­ship and personal/professional resilience. This practice-based enquiry is taking shape through posters, infographics, conversations, screenplays, performances, etc., which will feature in a handbook of strategic and tactical practices for brokering value to be published in 2015. In addition to being a member of Critical Practice, I am also part of Contemporary Marxism Collective and Precarious Workers Brigade, and am a Director of Pangaea Sculptors’ Centre.

Critical Practice and friends listen to Marsha Bradfield sketch the history of Parker Brothers’ Monopoly before hacking the game at Utopographies: Consensus, Evaluation and Location, Chelsea College of Arts, 2014. Photo: Metod Blejec


Research Degrees

Profile: Joanne O’Hara Post-doc Research Fellow

Prior to my appointment as a Research Fellow at CCW, I concluded my doctoral studies in historical architectural drawings before taking up a role as researcher for a touring exhibition which formed part of the London 2012 cultural Olympiad. My current research project brings together my expertise as a drawing scholar and exhibition curator on The Olympics Drawn project. The Olympics Drawn aims to identify, collate and curate drawings made for all aspects of the London 2012 Olympic Games. This audit will use drawings by designers and managers with a view towards establishing a cross–discip­ linary understanding of the intellectual, political, aesthetic and cultural climate of this unique nationally located and globally significant event.

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The relationship between drawing, design and decision making will be established by creating a sample group of drawings taken from a range of stakeholders and cultures during one small slice of time and will encourage cross– disciplinary thinking. The project will collect, sift, collate and make sense of information that relates to the uses of drawing: it will there­ fore enable new understandings of drawing and its relationship to wider processes of design, choreography, fashion and creative thinking. The Olympics Drawn will be hold in an exhibition at Wimbledon Space 10 October– 14 November 2014.

Concept Sketch: London 2012 Velodrome, Mike Taylor, Senior Partner Hopkins Architects


Professors


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Professors

Paul Coldwell Biography  Paul Coldwell is a practising artist

and researcher. His art practice includes prints, book works, sculptures and installations. He has exhibited widely and his work is included in numerous public collections, including Tate, Victoria and Albert Museum (V&A), the British Museum and the Arts Council of England. He has curated a number of exhibitions, most recently The Artists Folio as a site of Inquiry at Cartwright Hall, Bradford 2014 and Morandi’s Legacy; Influences On British Art at the Estorick Collection in London, accompanied by a book published by Philip Wilson in 2006. In 2010 he published a major survey of printmaking, Print­making: a Contemporary Perspective (Black Dog Publishers) and was key note 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. In 2013 he was the sub­ ject 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  Objects, our relationship

to them and the meanings that we project onto them has been a recurring theme in both my

prints and sculptures for many years. In addition, I have been testing how working from archives and collections can serve as stating points and triggers for bodies of new work. In 2014, as a contribution towards the Anxiety Arts Festival, I produced two charm bracelets, greatly enlarged and cast in aluminium in the foundry at Chelsea. These, alongside other works, were the result of research in both the Bethlem Royal Hospital and the Freud Museum London and were exhibited in the Freud Museum in 2014. I wanted to subvert the idea of the ‘lucky or good luck charm’ and instill the objects instead with a sense of repre­senting burdens and anxieties. They drew inspi­ration from the restraints used on the patients in the Bethlem Hospital as well as referencing the collection of objects and representations of gods in the Freud Museum. To supplement these sculptural works a series of postcards, each bearing a photograph of one of the ‘charms’ along with the title of a popular song, further seeks to point to the fragi­lity of our existence. Selected exhibitions 2014 Charms & other anxious objects. London: Freud Museum 2014 Printed Matter. New Zealand: Art at Wharepuke 2014 Against Nature. London: Camberwell College of Arts 2014 Current. San Francisco: AAU Cannery Galleries 2014 3rd Graphic Triennial. Poland: Warsaw 2014 Cartographies; Mapping Intersections & Counterpoints. Abu Dhabi, UAE: Zayed University Gallery 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 Selected publications 2014 ‘Objects of our Time’ (Prints of Michael Craig-Martin). Printmaking Today. May 2014


Professors

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Charms I, Paul Coldwell, aluminium and steel, approx. 50 × 60 × 20 cm, 2014

2014 ‘Just what is it that makes Richard Hamilton so special, so important’. Art in Print. vol. 4, no . 1 2014 The artists Folio as a site of Inquiry. Bradord: Catalogue Cartwright Hall 2014 ‘The Printed Image: a space for writing and drawing’. In: Farthing, S. & McKenzie, J. (eds) The Drawn World. New York and London: Studio International and the Studio Trust 2013 New & Old Technologies-Paul Coldwell & Paul Laidler in conversation. Brazil: Porto Arte 32 2013 Honore Daumier & Paula Rego; Graphic Work. In: Rego, P./ Daumier, H. (eds); Scandal, gossip and other stories. Cascais, Portugal: Casa das historias Paula Rego 2013 Paul Coldwell-A Layered Practice. Canterbury: Studio 3 Gallery, University of Kent 2013 Re-Imaging Scott. Cambridge: Scott Polar Research Institute, University of Cambridge 2013 The Big Country/Stephen Chambers. Art in Print, vol. 2, no. 6 Selected conferences | public talks 2014 The role of printmaking in contemporary art practice. Password Conference. Ljubljana: International Centre for Graphic Art

2014 The Artists Folio. Bradford: Cartwright Hall 2013 Re-Imagining Scott. Cambridge: Scott Polar Research Institute 2013 Objects & Journeys: – Print Council of Australia 2013 The printed image; A space for writing and drawing. Drawing Out Conference. Melbourne: RMIT 2013 The poster – public and private sites. Symposion zur Internationalen Graphik Triennale. Vienna: Karlsplatz 5 2013 Printmaking - A Contemporary Perspective Réplica – Reflexão Gravura Contemporânea. Portugal: University of the Algarve 2013 A Layered Practice. Preston, USA: Harris Museum & University of Santa Cruz Selected awards | appointments | acquisitions 2014 Purdue University acquired a set of prints for their permanent collection 2013 The Museum D’Art et D’Histoire, Geneva acquired three series of prints for their permanent collection 2013 The Scott Polar Research Institute acquired a number of works including Implements from a journey, from the exhibition Re-Imaging Scott: Objects & Journeys


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Professors

Jane Collins Biography  Jane Collins is Professor of Theatre

and Performance at Wimbledon College of Arts. 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, with 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 Arts in January 2013. Also in 2012, Collins secured funding to establish a partnership between the University of Hyderabad and Wimbledon College of Arts from UKIERI (UK–

India Education and Research Initiative) to jointly investigate: Scenography in a digital age; a comparative study of the impact on new media on contemporary Indian and British performance practice. Collins has recently joined TrAIN and she is a founding member of UAL Performance Network, an interdisciplinary network of artists who run workshops and performance-related events across the university. Research statement  My research locates theatre

and performance within the wider discourse 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 performances that

Fine Art and Theatre Students, University of Hyderabad, March 2014. Photo: Jennifer Wright


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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  Throughout 2013–2014 I have

been working with Routledge to establish a new journal of scenography. Theatre and Performance Design will be launched at the Prague Quad­ rennial, Performance Design and Space in June 2015. I will be co-editing the journal with Professor Arnold Aronson of Columbia University. In addition, over this last year I have edited the first English translation of a collection of the writings of German composer and theatre director Heiner Goebbels. Aesthetics of Absence will be published by Routledge in January 2015. The UKIERI partnership with Hyderabad University has facilitated two visits between staff and research students from both institutions. The team from India came to Wimbledon in September 2013 and the CCW team visited Hyderabad in March 2014. The Hyderabad team will return to Wimbledon in September 2014 to conduct a series of workshop experi­ ments towards creating a joint online perfor­ mance to be streamed live between the two sites. Selected publications 2013 ‘A Scenography Workshop on Campus in Hyderabad: Romeo, Juliet and the Security’ Guard. Studies in Theatre and Performance, vol. 33, pt. 3 2012 ‘Embodied Presence and Dislocated Spaces: Playing the Audience’ in Ten Thousand Several Doors in a Promenade, 2012 ‘Site-Specific Performance of John Webster’s The Duchess of Malfi’. In: Performing Site-Specific: Politics, Place, Practice. Birch, A. & Tompkins, J. (eds) New York: Palgrave. Selected conferences 2014 IFTR International Federation of Theatre Research. Warwick

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2014 International Theatre Festival of Kerala. Kerala: Kerala Sangeetha Nataka Akademi 2013 Stanley Kubrick Symposium. Los Angeles: LACMA 2013 15th Bharat Rang Mahotsav – An Inter­ national Theatre Festival. Delhi: National School of Drama (NSD) 2012 Performance Studies International. Leeds: University of Leeds


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Professors

Neil Cummings Biography  Neil Cummings is Professor

of Theory and Practice at Chelsea. He was born in Wales and lives in London. www.neilcummings.com 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: Self Portrait: Arnolfini at the Arnolfini, Bristol, writing and editing films; Museum Futures, performing – V&A Bicentenary and convening participatory events – PARADE, with Critical Practice.

A recent output  I worked with Critical Practice,

a self-selected group of CCW students and a collection of Utopographers, towards Evaluation, Consensus and Location in the Triangle Space at Chelsea College of Arts, on the 24th and 29th March 2014. The theme of Evaluation was to enable Critical Practice to develop its current research strand into valuable and evaluative communities, Consensus as it’s a problematic term for uto­pians and Location, as we were all interested in being creatively estranged in time and space. At a series of workshops we collaboratively developed an appropriate event space– neither exhibition, lecture, conference or symposium space– a flexible environment to nurture creative processes. From the 24th, we installed the envir­ onment by threading kilometres of rope between batons, creating a meshwork throughout the Triangle Space. ‘Weavers’ came: some stayed and others went over the three days; it was sur­pris­ ingly tiring, accommodated everyone. It was both discursive and deeply satisfying.

Evaluation, Consensus and Location, Chelsea College of Arts, 2014


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The two more public ‘exhibitionary’ days were an astonishing array of presentations, screenings, Live Action Role Play (LARP), Skype discussions, interviews, live scribing, performances, talks, work­shops, hacks, tournaments, walks, and confrontations. We glimpsed the future, and recov­ered the spirit of Art Schools. Participants included: Jill Belli, Francis Brady, Amy Butt, Nathaniel Coleman, Contemporary Land Theatre, Stephanie Dickinson, Critical Practice, Ruth Desseault, Open Music Archive, Karel Doing, Eddie Dorrian, Future Records, Angus Carlyle, The Gluts, Hayley Jukes, Charlotte Knox-Williams, Mathilda Oosthuizen, Blanca Regina, Prof. Kazue Kobata, Adoka Niitsu, Dan Smith, Adam Stock, Sissu Tarka and many more besides. www.criticalpracticechelsea.org Selected exhibitions 2014 Evaluation, Consensus and Location. London: Triangle Space, Chelsea College of Arts

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2013 V&A Bicentenary. London: Victoria & Albert museum and Newcastle: Utopography 2013 #floodplain a collaboration with 51% studios was launched. London: Royal Academy 2013 AATT was launched as part of AGORA 4th Athens Biennial 2013 Museum Futures exhibited as part of the 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 Organisation: Artist Placement Group 1966–79. London: Raven Row. Publications 2013 V&A Bicentenary. In: Pye, M. & Sandino, L. (eds) Artists Work in Museums: Histories, Interventions, Subjectivities. Bath Spa University: Wunderkammer Press

Evaluation, Consensus and Location, Chelsea College of Arts, 2014


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Rebecca Earley Biography  Earley currently divides her working

life between the Textile Futures Research Centre (TFRC) at Central Saint Martins and the TED project at Chelsea College of Arts. She is an awardwinning designer, researcher and consultant, whose creative textile and fashion work has been widely exhibited over the last twenty years. She curates exhibitions and mentors designers to produce prototypes and demonstrators that explore her vision of a more sustainable society and industry. Earley’s recent corporate clients include H&M, VF Corporation, and Puma. Research statement  Earley 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, Earley uses design-led methods including ‘Layered Thinking’ in workshop scenarios to system­ atically reconsider the design 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. Earley’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. Recent research roles include the AHRC–funded FIRE Up and Worn Again projects and the Swedish funded MISTRA Future Fashion consor­tium work. A recent output  Fast Refashion: the reuse of

polyester shirts – the Top 100 Project – has taken me on a fifteen-year journey through design research and across the globe. In 2013–14 a new approach evolved which took me to China, Scandinavia and London. Fast Refashion explores how designers can enable people to remake clothes for themselves using a range of simple domestic tools. The different contexts and collaborations provide insight into how the recrafting of this ubiquitous garment can lead to new systems and services for consumers,

making them part of the movement to ‘close the loop’. • Building Empathy (Shanghai Shirt: November 2013). Mistra PhD researcher Clara Vuletich and I developed a toolkit to take to a factory where we hosted a workshop with six garment workers. Vuletich is interested in helping designers connect to people in the supply chain as a way to empower and support social wellbeing. Tactile and visual research con­ ducted in Anxi Clothing Market developed our sense of the type of habits and waste that currently constitute China’s 10 billion tonnes of discarded clothing. • Fusing Methods (Symposium Shirt, Copenhagen: November 2013). Mistra PhD researcher Kirsti Reitan Andersen, from Copenhagen Business School, has a back­ ground in the social sciences. Her relentless interviewing schedule in China lead to a shared interest in how our research methods vary across the disciplines. We tested a fusion of our methods in a workshop with the scientists from the Mistra consortium. • Visioning Systems (Stockholm Shirt: April 2014). Vuletich took the approach from Copenhagen out to Stockholm, where her Top 100 workshop with MA business students asked them to not only remake the shirts, but to also imagine the new business models that would support them. • Campaigning for Ethics (#Insideout Shirt: April 2014). On the same day back in London, my ‘Who Made My Uniform’ workshop at a primary school was part of Fashion Revolution Day – a global initiative to commemorate the Rana Plaza factory collapse last year.

Selected exhibitions | curation 2014 Textile Toolbox. Online showcase for Mistra Future Fashion, co-curated with Dr Kate Goldsworthy Selected exhibitions | prototypes 2014 Shanghai Shirt, ReDress Shirt. Mistra Textiletoolbox.com online exhibition


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Educating Designers (ReDress Shirt, Hong Kong, January 2014). Using the shirt to teach professional designers in Hong Kong about material waste, water and chemical pollution and design activism. Photo: Bridget Harvey

2013 Fractal Shirt. 10th European Academy of Design Conference – Crafting the future. 17–19 April. Gothenburg: University of Gothenburg. 2012 Future Wear, Transformable Packaging: Box-Plus/Box-Less Textile Packaging Concepts. North Carolina: VF Corporation Selected publications 2014 Earley, R. & Ballie, J. ‘Black Hack Chat’. The Design Journal (September 2014) 2013 Earley, R & Politowicz, R. ‘The TEN: A Tool for Narrative Prototypes’. In: Wilson, M. & van Ruiten, S (eds). Handbook for Artistic Research Education. Amsterdam, Dublin, Gothenburg: DIT/GradCAM and ELIA, pp. 94–96 2013 Earley, R & Politowicz, R. ed. We Shape Our Tools, Then They Tools Shape U. Research Through Design: conference proceedings. Newcastle: University of Northumbria, pp. 176–179

Selected conferences 2014 ‘Design Thinking for Sustainability: A Case Study of a Research Project between Hennes & Mauritz and Textiles Environment Design’ (with Reitan Andersen, K.). 20th Annual International Sustainable Development Research Conference. Trondheim, Norway: Norwegian University of Science and Technology Selected awards | appointments | acquisitions 2014 Competition Judge, Esthetica, London Fashion Week 2013 Advisory Board Member, Fashion Revolution Day Industry Keynotes 2014 The Redress Forum 2014, Hong Kong 2013 H&M Head Office, Stockholm


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Professors

Catherine Elwes Biography  Catherine Elwes co-curated two

landmark feminist exhibitions, Women’s Images of Men and About Time (ICA, London, 1980). She specialises 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 Installation 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 Moving Image Review & Art Journal, (MIRAJ, Intellect Books), supported by an AHRC Network award. 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 positions. Recent writing on the domestic spaces of video installation makes an argument for video as an inherently spatial practice. 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 Peter Campus’ installations.

A recent output In Suzanne Lacy: Silver Action

(MIRAJ 2:2, 2013), I report on my participation in the Silver Action event at Tate Modern in which Lacy gathered over 400 ‘older’ women who have been politically active at some point in their lives. I assess Lacy’s strategy of concentrating on ‘sculpted’ conversations between the women rather than making a spectacle of old age. I also speculate on the value of participants’ anony­m­ ity, their ‘un-naming’, given the claims for the work acting as a lasting social and historical document. I discuss the use of the term ‘lady’ to describe a mature woman from the perspective of Judith Butler’s definition of name calling as ‘being injured by speech’. I revise my analysis in the light of its ‘resignification’, its alternative usages among young women, referencing Rachel Johnson’s argument that the ‘debutante turn’ is a reaction against the sexualised ‘bad girl’ aesthetic of the 1990s. I end with an inventory of the political histories and personal memories, the jokes, idiosyncracies and wisdom gleaned from the other participants on the day. On the exclusion of women in the boardroom: ‘the longer the table, the more power it embodies.’ The work rests on its value as a powerful sym­bolic tribute to the contribution of women to the political landscape of the 20th century and beyond, seen in the context of the artistic trend identified by Tess Takahashi in which “the depiction of complicated emotional truths” have displaced factual surveys. Nonetheless, I call for critical analysis of the data Lacy collected through the project as a valuable resource for future researchers into feminism and radical British political movements. Selected exhibitions 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


Professors

Selected publications 2013 ‘The assessment of excellence in a world of illusion’, Editorial, Moving Image Review & Art Journal, vol. 2, pt. 2, pp. 145–147 2013 ‘Visible Scan Lines; on the transition from analog film and video to digital moving image’, Millennium Film Journal, no. 58, pp. 58–65 2013 ‘Interview: July 2007–June 2013, Chris Welsby and Catherine Elwes’, Moving Image Review & Art Journal, vol. 2, pt. 2, pp. 308–324 2013 ‘Suzanne Lacy: Silver Action’, Moving Image Review & Art Journal, vol. 2, pt. 2, pp. 290–297 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 Perspec­

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tives’, Moving Image Review & Art Journal, vol. 2, pt. 1, pp. 124–130 2012 ‘Pipilotti Rist at the Hayward Gallery’, Moving Image Review & Art Journal, vol. 1, pt. 2, pp. 271–276 2012 ‘Phases, Ruptures and Continuities’, Moving Image Review & Art Journal, vol. 1, pt. 2, pp. 174–151 Selected conferences 2014 Women’s Images of Men, paper at day conference on the ICA Women’s Shows, Nottingham Contemporary 2014 Introductory address to a curated programme of women’s video art on themes of masculinity. Nottingham Contemporary 2014 Feminism in Art School, paper at the Art School, Another History symposium. London: David Robert Art Foundation

‘Silver Action’ workshop, Suzanne Lacy, Tate Modern, 1 February 2013. Photo: Catherine Elwes


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Professors

Stephen Farthing Biography  Stephen Farthing studied at Central

St Martins School of Art and then the Royal College of Art. From 1990–2000 he was the Ruskin Master of Drawing at the University of Oxford. He was elected as a member of the Royal Academy of Arts in 1998 and is now the Chairman of their Exhibitions Committee. 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 on the first Tribal Nations. Research statement  My research into drawing

is underpinned by a taxonomy of drawing that I first published in 2013. The objective of this research is the development of an understanding of drawing as an aspect of general literacy. This enables new ways of teaching drawing. As an artist I draw no hard line 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 draw­ ing. I am currently painting a series of works that explore Orientalism through the writings of Edward Said. A recent output  As my research into drawing

has progressed, I have become increasingly interested in why drawing and writing are so often used as parallel forces in the creative pro­cesses. In pursuit of this, I have identified preparatory drawings, sketchbooks and journals by artists and designers as good sites for analysis. With this objective in mind I have worked with my Research Assistant Ed Webb-Ingall to publish an exploration of the sketchbooks of Derek Jarman. Derek Jarman (1942–1994) was an influential filmmaker, painter, set designer, writer, gay polemicist and political activist. From the outset this project had two sides to it: on one

side it was archival on the other an essentially oral history project. The archival side involved working our way through some thirty books of drawings, photo­ graphs and hand written and typed text which took us chronologically from the early 1960s and Jarman’s time as a student at the Slade to his death in 1994. The aim was to better understand the role sketchbooks played in developing creative solutions, or what bearing they had on the artist’s practice and research methodologies. On the historical side, we interviewed and commissioned essays from Jarman’s friends, work colleagues and associates in order to add a narrative to the timeline established by the archival sources. The Sketch Books of Derek Jarman was published by Thames & Hudson in September 2013. Selected exhibitions 2014 Titian’s Ghosts. An installation of paintings commissioned by the National Trust for Ham House Selected publications 2014 The Drawn Word: every time I write my name I am drawing. London: Studio International 2013 Eleven Paintings You Cannot Paint. Melbourne: Metasenta 2013 The Sketch Books of Derek Jarman. London: Thames & Hudson 2012 The Good Drawing. London: CCW Graduate School Selected conferences 2014 Drawing Today. Keynote Speaker. DRAW2014 February 27 – March 1. Pittsburgh: Carnegie Mellon University Selected performances 2014 Titian’s Ghosts. Performed and co-directed, 10 minute film commissioned by the National Trust Selected appointments 2012 Elected Chairman of the Royal Academy of Arts Exhibitions Committee


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Derek Jarman's Sketchbooks (2013), Farthing, S. and Webb-Ingall, E. (eds), London: Thames & Hudson.

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Eileen Hogan Biography  Eileen Hogan is Professor in Fine

Art and Theatre at Chelsea and Wimbledon. She is a practicing artist and researcher who has shown her work extensively in museums and private galleries in the US and Europe. In the UK she is represented by Browse & Darby. Her practice includes painting, drawing, book art and digital works. In 2013 she had a two-year long international touring exhibition consisting of paintings, drawings, prints, books, photo­ graphs, archival material and sound recordings inspired by Ian Hamilton Finlay’s garden, Little Sparta, produced between 1997 and 2013. In 2013 it was shown at the NewArtCentre, Roche Court, Wiltshire and at the Fleming Collection, London. In 2014, a section of the show was fea­ tured in Of Green Leaf, Bird, and Flower: Artists’ Books and the Natural World at the Yale Center for British Art. There will be a solo show at the Stockwood Discovery Centre in Autumn 2014, part of Museums Luton, where the The Improve­ ment Garden, created by Hamilton Finley in 1990s is a permanent feature. http://eileenhogan.co.uk Research statement  My research explores the

relationship between portraiture and biography using oral history as part of the methodology. In 2013 I was one of five artists invited by Tate to teach a life drawing master class, each from their own perspective. The resulting film (currently part of the Tate Britain Display Reception, Rup­ ture and Return: The Model and the Life Room) places an emphasis on analyzing the interaction between the sitter, the artist and the spectator. My research also includes the various ways that artists engage with archives and collections. A recent collaborative AHRC–funded research project drew together the book arts collections at Chelsea College of Arts, Tate and the V&A in order to establish a common understanding of artist’s books and their place in the art school, the museum and the library. As Director of the Jocelyn Herbert Archive, an international visual and literary archive, I have established a

collaborative relationship between the National Theatre and Wimbledon College of Arts, which will allow the Jocelyn Herbert Archive to be inter­ rogated and researched in the context of the major new developments at the National Theatre. A recent output  Hogan’s current international

touring exhibition 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, photographs, archival material, sound record­ ings and digital essays, made over a period of 12 years, of Ian Hamilton Finlay and his garden, Little Sparta. Hogan was featured in and gave the keynote opening lecture for Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World, at the Yale Center for British Art, New Haven, USA, an exhibition which examined the inter­ sections of artistic and scientific interest in natural his­tory and the natural world from the sixteenth century to the present. It featured books, draw­ings and prints as well as a range of more experi­mental media incorporating cut paper, wood, stone, natural specimens, sound, video and interactive multimedia. A number of key historic works were loaned from other Yale collections including the Yale University Art Gallery and the Beinecke Rare Book and Manuscript Library, which were placed beside works by contem­porary artists. The fully illustrated accompany-ing book, published by the Yale University Press (http://yalepress.yale. edu/yupbooks/book.asp?isbn=9780300204247) includes essays exploring the history of the material and takes the reader through a walk in the British countryside. Selected exhibitions 2014 ‘Of Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World. New Haven, USA: Yale Center for British Art 2014 BP Portrait Award. London: National Portrait Gallery, Sunderland: Sunderland Museum and Winter Gardens and Edinburgh: Scottish National Portrait Gallery


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Preparation for touring exhibition, Pembroke studios. Photo: Sandra Lousada

2013 Eileen Hogan at Little Sparta. London: Fleming Collection 2013 Vacant Possession. Salisbury: New Art Centre, Roche Court 2013 Royal Academy Summer Exhibition. Also 2012, 2011, 2010

Selected conferences 2014 Art School Educated. London: Tate Britain 2013 In conversation with William Feaver. London: The Princes Drawing School 2012 ‘Transforming Artist Books’ workshop. London: Victoria & Albert Museum

Selected publications 2014 ‘Of Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World. New Haven, USA: Yale University Press 2013 Bountiful UL 238 Sweet Promise FH 172 Golden Gain FR 59. Paintings and Drawings by Eileen Hogan Inspired by Ian Hamilton Finlay’s Garden, Little Sparta, Stonypath in Scotland. London: Fleming Wyfold Art Foundation

Selected awards | appointments | acquisitions 2014 Portrait of Ian Hamilton Finlay acquired by the Yale Center for British Art 2012 AHRC Digital Transformations Research Development Award: Transforming Artist Books with Tate Research 2012 Olympic Artist. All England Lawn Tennis Club Wimbledon Eileen is on the panel at the National Gallery which appoints the associate artist and is an advisor and patron of Mindroom, a Scottish charity for children with learning disabilities


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Nicholas Pickwoad Biography  Nicholas Pickwoad trained in

bookbinding and book conservation with Roger Powell and ran his own workshop from 1977– 1989. He has been an Advisor on book con­serva­ tion to the National Trust since 1978. He was Chief Conservator in the Harvard University Library from 1992–1995 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-practiced 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  The evidence of the forged

SNML Book Structure. The discovery a few years ago of a proof copy of this seminal work by Galileo, apparently illustrated by his own watercolours of the phases of the moon, created great excitement and a two volume work discussing its significance was published. Only after publication did it become known that the book was an elaborate forgery. The authors of the previous two volumes invited me to join their group to carry out an analysis of the binding which turned out to be just as com­ promised as the edition itself. Selected publications 2014 ‘The Evidence of the forged SNML book structure’. In: Brederkamp, H., Brückle, I. &

Needham, P. (eds) A Galileo Forgery: unmasking the New York Siderius Nuncius Berlin: Walter de Gruyter & Co 2012 ‘An Unused Resource: Bringing the Study of Book bindings out of the Ghetto’. In: Mouren, R. (ed.) Ambassadors of the Book: Competences and Training for Heritage Librarians. IFLA Publications 160. Berlin: De Gruyter Saur 2012 ‘The origins and development of adhesive case bindings’. In: Jaarboek voor Nederlandse boekgeschiedenis. Bd. 19, pp. 117–129. Utrecht: Publishing Vantil 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


A view down the spine of the binding on the forged Sidereus Nuncius, supposedly of 1609, showing how the sewing supports used for the 1655 editions bound with it are thicker than the added supports to which the forgery was sewn

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Malcolm Quinn Biography  Malcolm Quinn is Professor of

Political and Cultural History, CCW Associate Dean of Research and Director of CCW Graduate School. Research statement   My current research

engages with ideas that were foundational for state funded art education in England – utility, taste, wellbeing, cultural prejudice and social equity. The identification of this set of foundational concepts has developed from historical work on how the state funded art school emerged from a utilitarian critique of the academy. My current research focuses on the repurposing of cultural terms and cultural objects in the service of utilitarian ethics. A recent output  The Plot Against the Future:

keynote presentation for the conference Memories of the Future London: Senate House, 3 May 2014. My presentation for Memories of the Future drew on my recent research on the repurposing of cultural objects. When we think of a time machine, we might think of an object that looks different from all other objects in the world, like the bizarre hybrid vehicle familiar from the stories of H.G. Wells. I discussed a time machine which, rather than being a different kind of object in the world, might be constructed out of a different use of existing objects. The time traveller, similarly, is someone who talks about and uses the things of this world in a different way than everyone else. I used this difference between new objects and new uses of existing objects to discuss the importance of satisfaction in narratives of time travel and the difference between ‘not getting what you want’, which is the basis of the fantasy of obtaining satisfaction through travel to another dimension of time, and ‘not wanting what you get’ because the things you get only have one set of instructions for use. The second part of my presentation applied this distinction to historical analysis – I asked

if there was something which could separate knowledge of how things were in history (and how things might have been in ‘counterfactual’ histories) from the recreation of historical knowledge in a form that this world does not use it. As an example of the latter, I discussed Robert Musil’s book The Man Without Qualities, where knowledge of World War One is used in a very remarkable way. 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 19thCentury Britain. London: Pickering and Chatto 2011 ‘Chigurh’s Haircut: Three Dialogues on Provocation’. In: Corris, M. Joseph-Lester, J. & Kivland (eds) K. Transmission Annual, Provocation. London: Artwords Press 2011 ‘What is the Alternative?’ In: Cummings, N. & Critical Practice (eds) Parade, Public Modes of Assembly and Forms of Address. London: CCW Graduate School Selected peer-reviewed journal articles 2013 ‘Stupidity is Anything at All’. Parallax, vol. 19:3 2011 ‘The Invention of Facts: Bentham’s Ethics and the Education of Public Taste’. Revue d’études benthamiennes, vol. 9 2011 ‘The Disambiguation of the Royal Academy of Arts’. History of European Ideas. vol. 37, 1 2011 ‘The political economic necessity of the art school 1835–1852’. The International Journal of Art and Design Education, vol. 30: 1 Selected conferences | lectures | presentations 2014 Introduction and concluding remarks for Taste After Bourdieu. London: Chelsea College of Arts


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Memories of the Future conference, London, May 2014

2014 Keynote presentation for Memories of the Future. London: Senate House 2014 Lecture at National Association for Fine Art Education Conference 2014 Lecture at Stupidious. London: South London Gallery 2013 Interviewed for The Story of the Swastika. London: BBC1 2012 Bentham and Hume on Social Standards of Taste. At the International Society for Utilitarian Studies (ISUS) conference. New York: New York University

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Stephen A. R. Scrivener Biography  Professor Stephen Scrivener

studied Fine Art at undergraduate and master levels, 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, Scrivener 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 completed funded research projects; produced over 175 research outcomes; supervised 32 research degree students to completion and examined 45. Scrivener 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. 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, understood as that function that expands each field’s potential and relevance.

toilet that are not held of the others? Intrigued by this observation I took a mobile phone photo­ graph of the unoccupied urinals and labelled it The most beautiful urinal. Since then I have recorded and archived to Blogger and Flickr accounts other instances evidencing a preference for one of a set of equivalent things or compo­ nents of things in the urban environ­ment. I have called the project Urban Aesthetics. Selected exhibitions 2014 Urban Aesthetics. [Online] (http:// urbanaestheticsblog.blogspot.co.uk ) 2013 Recalculating. London: Triangle Space, Chelsea College of Arts 2011 Csepel Works. Budapest, Hungary: Labor Gallery Selected publications 2013 ‘Toward a practice of novel epistemic artefacts’. In: Schwab, M. (ed.) Experimental systems: future knowledge in artistic research. Leuven: Leuven University Press 2012 ‘Projective artistic design making and thinking: the artification of design research.’ Contemporary Aesthetics, Special Volume 4 2011 ‘Part 1: Reflections on interactive art and practitioner research: establishing a frame.’ Research and the creative practitioner. Faringdon, Oxfordshire: Libri Publishing 2011 ‘Part 2: Reflections on interactive art and practitioner research: interpretation.’ Research and the creative practitioner Faringdon, Oxfordshire: Libri Publishing

A recent output  In late 2013, when visiting

Tate Modern, I noticed that urine, escaping from urinal users, had unevenly etched the surface of the floor below the five identical urinals in the Level 0 male toilets. The American Pragmatist philosopher Charles Sanders Peirce held that “there is no distinction of meaning so fine as to consist in anything but a possible difference of practice.” The etched floor suggests a distinc­ tion in practice and, hence, meaning between one toilet and the others. Since it is beliefs, according to Peirce, that establish habits of practice, what beliefs might be held of the one

Key position 2011 International Expert, Research Assessment Exercise, Romania Acquisition 2011 Eighteen computer generated drawings. London: Victoria & Albert museum


The most beautiful ashtray, Stephen Scrivener, photograph

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Carol Tulloch

Professors

the Rock Against Racism Movement (RAR) 1976–1981. This was told through the personal Biography  Carol Tulloch is a writer and curator archives of Syd Shelton and Ruth Gregory who specialising in dress and black identities. She is were RAR (London) committee members. It was a member of the Transnational Art, Identity first shown at CHELSEA Space, London (2008). and Nation Research Centre (TrAIN) and is the ‘A Riot of Our Own: A Reflection on Agency’ charts TrAIN/V&A Fellow in the Research Department the development of the exhibition at CHELSEA of the Victoria and Albert Museum. Tulloch Space and response by others to the show and was the Principal Investigator of the Dress and its content. These included invitations to show the African Diaspora Network, an international the exhibition at the East End Film Festival, endeavour to develop critical thinking on this London (2010), and as part of the We Are Here 3 subject. Tulloch’s knowledge of this area of study Inter­national Festival of Visual Arts in Pula, has led to appearances on television and radio Croatia (2012). The article also discusses the in programmes such as Tales from the Front relevance of curatorial experimentation, in Room, BBC4 (2007) and Good Golly, Bad Golly, keeping with the aims of CHELSEA Space. This BBC Radio 4 (2010). was also a remit of the conference Disturbing Pasts: Memories, Con­troversies and Creativity Research statement  My current research focus (2012), where the paper I presented became the is primarily on the telling of self through the foundation of the article. As a result of reflectstyled black body. This includes cross-cultural ing on the curatorial thinking and processes and transnational relations of what I call style I applied to the exhibition, the article includes narratives, cultural heritage, auto/biography, a chart which outlines new areas of curatorial personal archives, activism, agency and making. considerations. Additionally the text explains I combine these approaches to consider how that the need to exercise agency was the con­ black people negotiate their sense of self within necting thread between all those involved various cultural and social contexts locally, in the exhibition, a thread that stretched back nationally and internationally. Understandably, to RAR’s activism during the five years of its life, my work includes other social and cultural to a curatorial-telling of those years in 2008. groups to compare experiences and/or cultural Most significantly, reflecting on the process and collaborations with people of the African delivery impact of this exhibition has enabled diaspora which enable me to develop a dialogue me to see how I want to develop my curatorial in the telling and place of individuals and groups. practice. Additionally, the experiences of lives in different Selected exhibitions situations– the home, on the street– and the 2012 A Riot of Our Own: A reflection on Agency. making of things have also informed the expan­ Pula: Galerija Makina sion of my research. 2012 International Fashion Showcase. A recent output  An aspect of my current Botswana, Nigeria, Sierra Leone & London research has been driven by reflection on the Selected publications past. This is explored in the article ‘A Riot of Our 2012 A Riot of Our Own: A Reflection on Agency. Own: A Reflection on Agency’ for the themed London: TrAIN Research Centre issue Disturbing Pasts: Memories, Controversies 2012 ‘Take a Look at it From My Point of View’. and Creativity of the Open Arts Journal (summer In: Jackson, T. and Watson (eds), G. Kimathi 2014). The work draws on theories and interests Donkor: Queens of the Undead. London: Iniva I have developed through my curatorial practice 2012 ‘It Takes a Nation of Millions to Hold (outlined above). The article reflects on the us Back: Freedom and the Dynamics of the exhibition A Riot of Our Own which I curated on


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Carol Tulloch’s workbook for A Riot of Our Own, 2012. Some of the text is written in shorthand. © Photo: Carol Tulloch

African Diaspora’. In: Aus dem Moore, E. (ed.) In the Seams: The Aesthetics of Freedom Expressed. Stuttgart: Institut für Auslands­ beziehungen Selected conferences 2014 ‘Beyond Boundaries: Taste and the Everyday Panel’. Taste After Bourdieu Conference. Conference Committee member, panel organiser and chair 2014 ‘The Quintessential Billie Holiday’. The Body Politic Lecture Series. New York: Parsons New School of Design 2014 ‘The Quintessential Billie Holiday’. Documenting Modernity: Fashion, Film and Image in America & Europe, 1920–1945. London: Courtauld Institute Research Forum Friends Lecture Series 2013 ‘Difference is Good, Difference is Exciting, Difference is Another Way of Being Modern’. Global Platform for Action on Sourcing from Women Vendors: Textiles and Garment Buyer Mentor Group Event. London: House of Commons 2013 Dress as Auto/Biography Workshop Oneday event. London: Victoria & Albert Museum. Organiser, chair and contributor

2013 ‘Yinka Shonibare MBE: Making-FreedomRecalcitrant’. Keynote Lecture. Yinka Shonibare MBE: Making Material Positions Conference. Wakefield: Yorkshire Sculpture Park 2012 ‘Insert Here: Curating Difference’. Disturbing Pasts: Memories, Controversies and Creativity Conference. Vienna: Museum of Ethnology, Vienna 2012 ‘Handmade Tales: Curating Domestic Craft Practice. Disruptive Difference: Transnational Craft Dialogues’. The Shape of Things. Leicester: School of Museum Studies, University of Leicester 2012 ‘Harmonious Possibilities: The Use of Textiles in the Exhibitions A Riot of Our Own’ and ‘Handmade Tales: Women and Domestic Crafts’. Social Fabric Symposium. London: Iniva 2012 ‘Picture This: the “Black” Curator’. Curators in Conversation 6: Investigating a Curatorial Position within the Paradoxes of Multiculturalism: Parallels Between the UK and Sweden. Stockholm: Cultural Konsthall C


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Professors

Chris Wainwright 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. Chris Wainwright is also an active professional artist and curator working in photography, installation and video. His 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 Landscape Photography from the Arts Council Collection. He recently co-curated Unfold, a Cape Farewell international touring exhibition of work by artists addressing climate change. Chris Wainwright’s photo­ graphic work is held in many major collections including the Victoria & Albert Museum, London; The Arts Council of England; Biblio­ theque Nationale, Paris; the Polaroid Cor­ poration, Boston, USA; and Unilever, London.

illumination, communication, invasion and pollution. Overall, I have a concern for repre­ senting 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 which does not rely on jour­ nalistic or didactic approaches but has its roots more in the pictorial traditions of painting. A recent output  What Has To Be Done. An

action based research project founded on the concept of the voyage as a self contained and immersive series of individual and collective experiences and activities aimed at addressing environmental issues. The project has so far taken a number of forms but is primarily based around a set of curated sailing voyages. It facilitates the collab­ orative generation of ideas, strategies and initiatives between artists, scientists, critical writers, curators and gallerists from different back­grounds in a unique and challenging way which provides a direct relationship with and utilizes the fundamental elements of nature. It includes dialogue with local and often isolated communities. The voyage relies on the co-dependency of all participants respon­ sible for sailing, cooking, initiating ideas, navigating and energy conservation measures.

The project pays homage to a series of sea journeys initiated by the German artist Joseph Beuys in the early 1980s, around the Scottish Western Isles. It is supported by Richard Research statement  I work primarily through Demarco’s Edinburgh Arts, which looked at the photography and video as a means of addressing history, heritage and future of the islands as issues related to the effects of light, both natural places of inspiration and indicators of how we and artificial, in urban and remote environments. might relate to the natural world in a manner The work is informed by a direct response to which is responsible and respectful of the place and is often the result of an intervention, a natural order of things. What Has To Be Done has temporary action or construction made for the followed in the footsteps of Beuys in 2013 and camera as a unique form of witness for recording 2014 in a square rigged brigantine called The light. I am interested in the cause-and-effect Lady of Avenel, similar to the Marques used by relationship between urban and unpopulated Beuys which itself was a replica of Darwin’s ship spaces and the way light is deployed as a form of The Beagle.


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The Lady of Avenel at anchor, off the Isle of Eigg, 2014

Outcomes from the project include exhibitions, talks, publications and a tool kit for creating similar activities on a local or international level this aims to construct a network of relation­ships and an amplification of environmental issues and how these can be identified, addressed and impacted upon as the result of an immersive set of experiences. www.whathastobedone.com

Selected publications 2014 Broken, Environmental Photography, Stockholm: Art Publishing 2013 Troubled Waters. (ed.) London/ Taipei: Camberwell Press/KUANDU Museum 2013 ‘A Catalogue of Errors’, Monograph. London: Diawa Foundation 2012 Expedition. (ed.) London: Bright publications

Selected exhibitions 2014 Points of Departure. Stockholm: Fotografins Hus 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

Selected awards | appointments | acquisitions 2014 Artist in Residence, Taitung Museum of Contemporary Art, Taiwan 2014 Trustee, Today Art Museum, Beijing 2012–13 Board Member, Asian League of Institutes of the Arts (ALIA) 2009–13 Chair of Trustees, Cape Farewell 2009–13 Jury Member for Global Design Cities Organization, Seoul, South Korea 2008–13 Member, Tate Britain Council


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Professors

Toshio Watanabe

Japanese gardens; and the relationship of Japanese gardens and the Second World War.

Biography  Professor Toshio Watanabe is

Director of the Transnational Art, Identity and I have followed up these in my two articles Nation (TrAIN) research centre. Watanabe ‘Josiah Conder (1852–1920)’ (2013) and ‘Alfred studied at the Universities of Sophia, Tokyo, Parsons, RA, PRWS (1847–1920) and the London and Basel, where he completed his PhD. Japanese Watercolour Movement’ (in print) both He taught at the City of Birmingham Polytechnic, in the series Britain & Japan: Biographical where he ran the MA in History of Art and Design Portraits edited by Sir Hugh Cortazzi. In both I course. Toshio has worked at Chelsea College have examined the response to Japanese nature of Art and Design since 1986, initially as the Head and gardens by these two Englishmen. The of Art History and later as Head of Research. trans­nationality of modern Japanese gardens in He is researching art history of the period 1850– Kyoto is investigated in my article ‘A Kyoto 1950 and is interested in exploring how the art Garden Renaissance? From Meiji to Early Showa of different places and cultures intermingles and Period’ (currently with the publisher University affects each other. Current external roles of Hawaii Press) to be published in Visual include acting as Vice President of CIHA (Comité and Material Culture of Kyoto (title tbc) edited by International d’Histoire de l’Art). Morgan Pitelka and Alice Tseng. Currently I am preparing the following projects, which all Research statement  The main focus of my follow up my initial investigation of the modern research is transnational interactions of art with Japanese garden: Japanese Gardens and Second an emphasis on the issues of modernity and World War (for AHRC); Reproduced Japanese identity. I am particularly interested in exploring House (for Leverhulme); and Asian Gardens in this; not just in bilateral but in multilateral Europe (EU). relationships such as those between Japan, Selected publications China, Taiwan, India, Britain or the USA within 2014 ‘The Art Historical Canon and the the time span between 1850—1950. My interest Transnational’. In: The Challenge of the in transnational relationships covers all media Object = Die Herausforderung des Objekts. but particularly architecture, garden design, Nuremberg, Germany: Verlag des Germani­ watercolour painting, photography and popular schen Nationalmuseums graphics. Particular emphasis is put on 2013 ‘Josiah Conder (1852–1920)’. In: Cortazzi, the consumption of these art forms locally and H. (ed.) Britain & Japan: Biographical globally. A recent output  My article ‘Modern Japanese

Garden’ appeared in Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000, which was published by University of Hawaii Press in 2012. Here I tried to give an overview of the develop­ ment of the modern Japanese garden. In the process of writing this, several issues have been iden­tified which need further investigation. These are, among others, the transnationality of many of the gardens in Japan; how Japanese gardens were received by foreigners; Japanese colonial gardens; the contributions of expatriate Japanese in creating and maintaining overseas

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 Hawaii Press 2012 ‘Forgotten Japonisme’. In: Moreno, P.C. & Dennis, A.T. (eds) La creación artística como


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Ogawa, Jihei VII, Murin-an Garden, Kyoto, early 20th century

puente entre Oriente y Occidente. Madrid: Grupo de Investigación Completense Arte de Asia, Grupo de Investigación ASIA Selected conferences 2013 ‘Art and National Identity: Chinese Buddhist Art and the Birth of Japanese Art History’. Keynote, International Conference Global Goes Local: Visualizing Regional Cultures in the Arts of Greater China. Hong Kong: Hong Kong Baptist University 2013 ‘Modernists’ Passion for a Zen garden: Ryoanji garden as a case for transnational canon formation’. Keynote, Private Passions: Japanese Art and Gardens in Australia symposium. Melbourne: Australian Institute of Art History, University of Melbourne www.youtube.com/watch?v=fdqLO-3CVIU 2013 ‘Modern Japanese Gardens (1890s-1970s): Some cases against stereotype’. Australian Landscape Conference. Melbourne: Melbourne Convention Exhibition Centre

2013 ‘Japanese Garden as Cultural Representation: Cases from Japan and the USA. Pacific Crossings: Kitaro Shirayamadani and the U.S.-Japan Cultural Relationship International Symposium’. Kanazawa: Kanazawa College of Art/21st century Museum of Contemporary Art Selected appointments Member of the Advisory Board, Tate Research Centre: Asia-Pacific (2013–) Visiting Professor, Australian Institute of Art History, University of Melbourne (SeptemberOctober 2013)


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Readers

Michael Asbury Biography  Dr Michael Asbury is Reader in

the 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 recognized specialist in modern and contem­ porary art from Brazil. He has published extensively and has curated numerous exhibi­ tions in the UK, Europe and Latin America.

That Hélio Oiticica was active in calling inter­ national artists to boycott the 1969 São Paulo Biennial in opposition to the censorship and repression installed by the military regime in Brazil is an undeniable historical fact. Yet his politics are far more complex than the oppos­ition towards the dictatorship alone is able to describe.

As we approach the 50th anniversary of the coup d’état in Brazil, we witness a number of incidents that invite us to think of Oiticica in relation both to that historical moment and to current debates. Research statement  The geopolitical In this sense, his famous slogan ‘Seja Marginal, expansion of the art historical canons beyond Seja Heroi’ (be an outlaw/outsider, be a hero) the hitherto hegemonic Euro-American axis still holds much of its original power when we brings to the fore a paradoxical condition for think of recent apologies for self-righteous contemporary art produced in, or by artists from, vigilante violence such as the [sarcastic] slogan regions previously labelled as the ‘cultural ‘Adopt a bandit’ that has been shamefully widely periphery’. On the one hand, never before has art circu­lated in the Brazilian mainstream media. from outside the ‘cultural centre’ received such The slogan was referred to by SBT’s TV anchorwide-ranging exposure, a fact corroborated by woman who defended a lynch mob who stripped the proliferation of international biennials and naked and tied a suspected thief to a lamp art fairs, as well as by the revised and enlarged post with a bicycle D-lock in Rio’s wealthy neigh­ scope of interests expressed by commercial bour­hood Ipanema. galleries and auction houses. On the other hand, the critical and curatorial discourse responsible Oiticica was of course playing with the ambiva­ for the legitimation of much of this recent lence of the word ‘Marginal’: a term that encap­ art on a global stage, more often than not invoke sulates the individual outlaw, the ostracised local art historical precedents, with all their sections of society and, one would presume, the socio-political entanglements, in a manner that self-awareness of being a Latin American artist is often veneered by radicalism and the rhetoric in the mid-1960s. In other words, the artist of postcolonial and/or cultural studies. It is proposed a space of relation, a fact that the dicho­ with unmasking and problematising this para­ tomy proposed by the recent slogan suggesting dox­ical condition, at one and the same time you either join in with the lynch mob or adopt an a product of a will for inclusiveness while also outlaw actively seeks to deny. Such rhetoric unwittingly demarcating spaces of differen­ purports irrevocable separation and in doing so, tiation, that my practice as an art critic, curator worryingly recalls the infamous military asser­ and art historian seeks to engage. tion ‘Brazil: love it or leave it’.

A recent output  The following except from

Hélio Oiticica and the Military Dictatorship in Brazil (Instituto Moreira Salles, 2014) exempli­ fies how it is sometimes problematic to draw parallels between historic artistic practices and contemporary events:

Selected exhibitions 2013–14 Ibere Camargo: O Carretel, meu personagem. Porto Alegre: Fundação Ibere Camargo Selected publications 2014 ‘Hélio Oiticica e a Ditadura Militar no Brasil


Readers

(Helio Oiticica and the Military Dictatorship in Brazil)’. In: Em 1964: arte e cultura no ano do golpe. São Paulo: Instituto Moreira Salles 2013 ‘Tunga: Tropical Baroque’. In: Brasiliana: Installations from 1960 to Present. Frankfurt: Schim Kunsthalle 2013 ‘Milton Machado: Prize Nominations’. In: Imagine Brazil. Oslo: Astrup Fearnley Musst 2013 ‘Some Notes on Abraham Palatnik’s Kinechromatic Apparatus’. In: 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 Matéria. 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’. In: Revista Porto Arte. Porto Alegre: Instituto das Artes, UFRGS Selected conferences 2014 Brazilian Contemporary Art under contamination and quarantine. C-Map presentation. New York: MoMA 2014 Franz Weissmann and the British modern legacy. Latin American Studies Association (LASA) annual congress. Chicago, USA. 2014 Daniel Senise: entre o ser e o nada, o espectador. Rio de Janeiro: Museu de Arte do Rio de Janeiro 2014 Pintura Contemporanea e o Salão no Seculo IX. Rio de Janeiro: Galeria de Arte Mercedes Viegas 2014 Hélio Oiticica and the notion of Creleisure. The Ludic Museum, two day international conference. Liverpool: Tate Liverpool 2013 Some problems with the notion of hybridity. Negotiating art historical narratives and Transcultural Negotiation in the Ambits of Art. Berlin: Art History Department in Freie Universität 2013 Contesting Hybrid Notions within Brazilian Contemporary Art. Montreal: Concordia 2013 Helio Oiticica and Brazilian Popular Culture.

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Guest speaker. Montreal: Université du Québec à Montréal (UQÀM) 2013 Curadoria Para Ingles Ver. Seminário Internacional sobre Curadoria. Porto Alegre: Fundação Ibere Camargo 2013 Modernism in Latin America and the great hybrid mix up. Keynote: Encuentros trasatlánticos: discursos vanguardistas en España y Latinoamérica. Madrid: Reina Sofia 2013 The Monochrome as Historical Painting. Connecting Art Histories / Grounds for Comparison: Neo-vanguards and Latin American/Latino Art. Bogota, Colombia 2013 2892 de Daniel Senise: entre o ser e o nada, o espectador. Keynote: O Porto: InED Escola Superior de Educação Politecnico do Porto 2013 Displays of/from the other: a critical perspective on political correctness and the case of Brazilian contemporary art. International Conference on Widening Participation. Västra Götalandsregionen, Göteborg: Kultursekretariatet 2013 Raymundo Colares: Hybridity is a Myth. Global Pop International Symposium. London: Tate Modern

Seja Marginal Seja Heroi, banner, 1968


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Readers

David Cross Biography  I began collaborating with Matthew

Cornford at Saint Martin’s School of Art in 1987 and graduated from the Royal College of Art in 1991. Cornford & Cross have held residencies at the London School of Economics, and Vitamin in Guangzhou, China. In London our work has been exhibited at the Camden Arts Centre, the ICA, the Photographers’ Gallery and the South London Gallery. In Britain we have exhib­ ited in the Northern Gallery for Contemporary Art, the De La Warr Pavilion and the Wolver­ hampton Art Gallery. In Europe, we have exhibited in Athens, Bologna, Bruges, Rome and Stock­ holm. In the USA in New York, Philadelphia and San Francisco.

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’ develop­ ment, which masks the accelerating ecological crisis. My current research explores how a university’s organizational networks and hier­ arch­ies might collaborate to contribute to the transition beyond the combined threat of climate damage and energy crisis. I am interested in the

Timeless, (still from single channel video), David Cross, 2013,

instrumental potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions that may sti­ mulate the kind of debate that is at the heart of active social agency. A recent output  Timeless (2013). Single

channel video: 29 minutes 59 seconds duration. The image shows the view over London from The Shard, a steel and glass tower over 300 metres high designed by the architect Renzo Piano and financed by Crown Prince Sheikh Tamim bin Hamad al-Thani of Qatar. With one of the world’s largest reserves of natural gas, Qatar tops the Forbes list of the richest countries. To make this image I hired a digital single lens reflex camera. Although it shoots video as well as still images, the manufacturers limited the time of a single take of video to 29 minutes and 59 seconds. One second longer and it would be classified as a video camera for tax purposes. I spent my university budget on travelling from London to Berlin by train rather than plane, so I paid for the camera hire out of my own posttax income. As an academic in Britain, my time is worth less money than the camera hire rate, so I hired the camera for the minimum of 24 hours.


Readers

If only I hadn’t told you these details, we might read this image as an establishing shot for a drama, thriller or action film: setting the scene for classic narratives of loss and redemption. We are so accustomed to the filmmakers’ use of flashback, time lapse, slow motion and ‘time slice’ photography that we hardly notice them. We take for granted our ability to fast forward to our favourite parts or skip the scenes we’d rather avoid. Selected exhibitions 2014 ‘A Month in the Country’. Homage to January. Curated by Nathaniel Pitt. Worcester: Worcester City Gallery and Museum 2013 ‘Praxis’. The Ends of Art. Curated by Euripedes Altintzoglou. Athens: Beton 7 Centre for the Arts 2013 ‘The White Bear Effect’. Solo show curated by Omar Kholeif. London: The White Building Selected publications 2013 ‘Mobilizing Uncertainty’. In: Fortnum, R. & Fisher, E. (eds) On Not Knowing. London: Black Dog Publishing 2013 ‘Bonjour Tristesse’. In: Rawes, P. (eds) Relational Ecologies. London: Routledge 2013 ‘Are You Looking for Business?’ In: Mallow, T. (eds) The Cultural Review nos. 2,3,4,6,8 soundclound.com/theculturalreview Selected conferences 2014 Just What Is It That Makes Today’s Art Schools So Different, So Appealing? Convened by Professor Rebecca Fortnum. London: ICA 2013 Embodied Cognition and Mental Simulation. Cognition Institute Annual Conference. Plymouth: Plymouth University 2012 Art, Conflict and Memory. Convened by Peter Seddon. Social History Society Annual Conference. Brighton: University of Brighton 2012 Art by Commission. Convened by Professor Michael Fehr. Berlin: Institut für Kunst im Kontext, Berlin University of the Arts

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Mark Fairnington Biography  Mark Fairnington, Reader

in Painting at Wimbledon College of Arts, 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 Fairning­ ton’s work, Fabulous Beasts, which was mounted at the Natural History Museum, (NHM) 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. 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. The Nature of the Beast was a group exhibition which featured Fairnington’s series of six life-sized paintings of prize-winning bulls at the New Art Gallery Walsall, 2013. It was accompanied by an historic exhibition called Our Creatures, curated by Fairnington, which explored the ways in which artworks have described different rela­ tionships between human beings and animals. Research statement  My research has involved

a sustained visual examination of the govern­ ment 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, my interest is resolutely in the eccentricities of the one required to stand in all: the specimen. The research investigates museum collections, their history, how specimens are housed, stored and displayed, doing with some of the possible rela­tions between art and science. The paintings have represented how we see nature through the diverse specimens held in these collections and how this has changed over the centuries.

I attempt to find a space where taxonomical requirements emerge in relationship with artistic ones. The improvisatory role of painting its capacity to produce plausible visual know­ ledge is what makes this space and what allows the paintings to take on a collective form; they become a series of nuanced allegories on the overlapping condition of democracy and typo­ logy. The natural world becomes raw footage which can be scripted and re-framed into a nar­ rative of its own, using the syntax of the fantasist with as much veracity as that of the scientist. The relationship or negotiation between the image as type and as a representation of the subject as individual becomes critical in the more recent paintings of people. This is evidence of a shift in the focus of the research and exemplified by the projects with the Wellcome Trust and Royal Armouries collections. A recent output  I am researching two

collections in order to generate a new series of paintings. Having worked extensively with natural history collections this new body of work will examine the idea of figurative painting, the painting of the human subject, through the prism of col­lecti­ng, the cabinet of curiosities and the history of still life painting. The first of these collections is in the Royal Armouries at the Tower of London, where suits of armour made for the Kings of England have, historically, been mounted on a series of life sized wooden horses carved by, amongst others, Grinling Gibbons: placing carved and painted heads in the helmets in place of the Kings’. The second collection is housed in thirty rooms in the basements of Blythe House, which con­ tains the Wellcome collection. Created by Henry Wellcome in the 19th century it was aimed at bringing together “a collection of historical objects illustrating the development of the art and science of healing throughout the ages”. As an artist, what makes it so compelling is its profound lack of rigour, its fluidity as it shifts


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Box Room, Mark Fairnington, oil on wooden panel, 2014

between medicine, art and anthropology. The juxtapositions are both disturbing and un­ expected: objects are stored as specimens in closed cabinets; wax heads sit next to anatomical models, real skulls and medieval sculptures. The figure is present here as specimen (preserved bodies and skeletons), image (wooden heads, horses) and in the form of objects made to fit the body, which operate, injure, disguise, protect, embellish and contain it. The new works will draw connections between and with these collections: the first suit of armour made for Henry VIII as a young man, prosthetic limbs made for soldiers during the First World War, carved heads depicting the Kings of England and death masks of convicts after execution. Selected exhibitions 2014 ‘Detail’. Bangkok: H-Project Space, London: Transition Gallery and Lincoln: Usher Gallery 2013 ‘Discerning Eye’. London: The Mall Galleries 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 curated by Deborah Robinson including Mat Collishaw, Tessa Farmer, Polly Morgan, Olly & Suzi, Patricia Piccinini.

2013 ‘Our Creatures’. Walsall: New Art Gallery 2013 ‘Drawing Biennial’. London: Drawing Room. Selected publications 2014 Intersubjective Encounters, Re-examining the work of Adrian Rifki. Arnold, D. London: I B Taurus & Co Ltd 2014 Mark Fairnington. limited edition fine art prints, New York: Artstar. 2013 The Nature of the Beast. Robinson, D. Walsall: The New Art Gallery Walsall. Acquisitions Ömer Koç collection, Turkey Thomas Schaub collection, Germany


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Sigune Hamann Biography  Sigune Hamann is an artist and

a reader at Camberwell College of Arts. Her work encompasses photography and video in multidisciplinary collaborations. Projects include film-strips (Durham Art Gallery 2013, ISEA, Istanbul Biennale 2011, Kunsthalle Mainz 2008, Gallery of Photography, Dublin 2008, Harris Museum, Preston 2005); wave (Wellcome Collections 2012), and video installations the walking up and down bit (BFI 2009) and Dinnerfor1 (British Council, Transmediale Berlin 2005). Hamann graduated from the University of the Arts Berlin before completing an MA (distinction) at the Royal College of Art, London with a DAAD scholarship award. She initiated and curated the symposium Stillness and Movement for the Graduate School and Tate Modern in 2010. Research statement  In photographic film-

strips, video loops, installations and online environments I explore the effects of time and perception on the construction of mental images. This encompasses hybrid media forms including photography, video, sound and performative elements. With rapid technological developments and the production of increasing numbers of images we are experiencing images now as events: grouped, layered, fragmented and changing over time. My research and teaching involves methods of generating, processing and deconstructing images. This includes the changing relationships of stillness and move­ ment, narrative structures and direct address. A recent output  As part of my solo exhibition

iN tHe nAme Of at the Durham Art Gallery I positioned photographs throughout Durham city. The title of the exhibition came from the Latin inscription on an 8th century stone: in nominee. It became the motive for portrait photographs and an edition of sandblasted stones. Street por­ traits taken in Tokyo and London connect and overlap with local scenes but remain ambiguous in their reading. I am curious about the fluid

process of perception dependent on our experience, memory and our fragmented layers of recollection. This is emphasised by the gradual accumulation of different images by the visitor and the openness of the text. iN tHe nAme Of questions the individual or collective motivations behind our actions. By association with ‘not in our name’ it relates to the centrepiece of the gallery installation: a 56 metre photographic film-strip, taken at the student demonstration against budget cuts and increased tuition fees in 2010, mounted in a 360 degree installation. At a time of hyper-real photography and enhanced focus and movement simulation, I create counterpoint film-strip imagery using an analogue photographic camera in the manner of a movie camera. A whole roll of 35mm film is exposed in one rewinding move­ ment while I move in relation to the subject. My method of panning while making the filmstrip allows the visitor in the exhibition to re-enact that movement as a way of viewing. Selected exhibitions and projects 2013 ‘iN tHe nAme Of’. Solo exhibition. Durham: Art Gallery Durham 2013 ‘Diorama’ (colour channels). Edition launched with The Multiple Store www.themultiplestore.org 2013 ‘The Changing Perception of Images’. CCW project in collaboration with the Wellcome Trust, London 2012 ‘Wave’. London: The Wellcome Collections and Manchester: Museum of Science and Industry Manchester


iN tHe nAme Of, photographed on the first exhibition day during the Miners’ Gala Sigune Hamann, series of photographs, 120 × 180cm, solo exhibition curated by Gill Hedley, Durham Art Gallery, 2013,

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Yuko Kikuchi 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. She 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

investigation into modernities in transnational visual culture and design in East Asia through my key publications on the Japanese and trans­ na­tional Mingei movement (Japanese Moder­n­ ization 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’, and the continuing project ‘East Asian Design History and Inter-Asian Modernity’, I’ve been working on developing a new study framework ‘East Asia’ in design history studies, building networks of design historians in East Asia (Japan, Korea, and China/Taiwan/Hong Kong). A recent output  My outputs regarding the

Mingei movement, Yen Shui-long, Russel Wright and John D. Rockefeller III can be clustered together under my research exploring trans­ national design and visual cultural studies. My study on the Mingei movement engages with and develops the current interest in its transnational aspect, taking it beyond Japan-UK relations and establishing a contemporary relevance to the field of cultural industry and ‘fine art’. The study on Yen Shui-long re-evaluates his revered work in Taiwan by focusing on his transnation­

ality under colonial conditions. It also intro­ duces Yen to Japan where he has been completely forgotten by postcolonial Japanese history. Russel Wright’s work within the USA is well known, but my study on Wright and his contemporary, JDR III, uncovers previously unknown facts about their postwar design intervention in Asia as part of Cold War cultural policies. This is developing an emerging field of Cold War design in Asia and my emphasis on the inter-dependence between American and Asian modern design movements proposes a new transnational study framework for design history. My other outputs fall into a group which can be called ‘East Asian design history’ and ‘the globalisation of design history studies’. These outcomes of international joint projects which I’ve been leading for many years. They reflect a collective vision to develop and translate an emerging field of East Asian design history into English. My own case studies on various design activities under the Japanese empire uncover unknown fragments of a history. They contribute to Euroamerican and British–centred post­colonial studies a fresh perspective on a non-Euroamerican colonial power. Selected exhibitions 2013 ‘Mingei Are you Here?’ London and New York: Pace Gallery Selected publications 2013 ‘The Evolution of Mingei into the 21st Century’. In: Mingei Are you Here? Catalogue. London: Pace Gallery 2013 ‘Towards a transnational design history in East Asia’ and ‘Making a Transnational Design History in East Asia: Yen Shuilong’s Craft-Design Movement’. In: Design History Japan. Tokyo: Design History Workshop Japan. issue 11, pp.135–139 and pp.140–149. 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.


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& 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’. New York: The Rockefeller Archive Center 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 2011–12 ‘re: focus design – Design Histories and Design Studies in East Asia’. Journal of Design History, vol. 24, no. 3, pp. 273–282; vol. 5, no. 1, pp. 93–106 Selected conferences 2013 Russel Wright and Designing ‘Asian Modern’ in Vietnam during the Cold War’ World. History Association 2013 Symposium on Vietnam in World History. Hanoi: University of Social Sciences and Humanities, Vietnam National University

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2013 Russel Wright and Cold War: ‘Asian Modern’ in Taiwan and Vietnam. Nation Building and Design in the Cold War Era workshop. London: Royal College of Art 2013 Recentering Craft in Postmodern and Postcolonial rewriting of Visual Cultural History. Negotiating Histories: Traditions in Modern and Contemporary Asia-Pacific Art symposium. London: Tate Modern 2013 Transnational Vernacularity of Taiwan Floral Chintz: craft-design and cultural industry Taiwan. Inter-Asia Cultural Studies Conference. Singapore: National University of Singapore 2013 Translating and Writing Modern Design Histories in East Asia for the Global World Organised by Kikuchi. AHRC funded symposium and workshop jointly funded by UAL and the National Yunlin University of Science and Technology 2013 To–yo– shumi of household products designed in Imperial Japan of Manchukuo And Taiwan’ at ‘To–yo– Shumi’ (Oriental taste) in Imperial Japan. Norwich: Sainsbury Institute for the Study of Japanese Arts and Cultures, University of East Anglia Selected awards | appointments | acquisitions Appointed 2014 Ishibashi Visiting Professor at Heidelberg University Appointed the convener for the 10th International Committee of Design History and Studies (ICDHS) Conference

Poster: 1920–1945 Inter-Asia Design Assimilation: Translations Differentiations Transmission


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Jo Melvin A recent output  I was invited by the Institut Biography  Jo Melvin’s interest in artist and

institutional archives and oral histories has been an ongoing preoccupation, since she com­ pleted her MA in History and Theory of Modern Art at Chelsea in 1993. Melvin began interviewing artists on her Fine Art BA at Middlesex Polytech­ nical during the 1980s and has been immersed in collaborations emerging from these exchanges ever since. She is currently working on the Barry Flanagan catalogue raisonné to be published by Modern Art Press, Yale and a forthcoming exhibition Five issues of Studio International at Raven Row, 2015. Research statement  My research specialism

and expertise is in the discussions & interactions between artists’ intentions in the creation and production of the so called new art practices which began in the 1960s and 1970s. This know­ ledge is derived from immersion in a variety of archival sources. These began with my colla­ bor­­ation with Peter Townsend, editor of Studio International magazine 1965–75, and founding editor of Art Monthly, 1976. My research origin­ ated in an exploration of the changing face of art criticism and the role of Studio Interna­ tional magazine in presenting emerging work, specifically conceptual art, to the British art public. Townsend was regarded by many artists and dealers passing through London during this time, including Lawrence Weiner, Carl Andre, Daniel Buren and Marcel Broodthaers. My integration of the interviews I have con­ ducted draws various threads into the discourse by invoking interpretations of oral history theory in the presentation of this in exhibitions and critical writing. I do not attempt to iron out ambiguities and contradictions – the things which could be characterised as the cracks between memory and documen­tation. I also intend to focus on the specifi­city of artistic events, the back-stories which lead to decisions, collaborations and situations that might otherwise be overlooked and/or forgotten.

National de l’Histoire De L’Art de France in May 2014 to deliver a paper at a symposium on Seth Siegelaub, the New York based dealer who pioneered the concept of the publication as a site for exhibition he worked closely with Carl Andre, Lawrence Weiner, Douglas Huebler, Jan Dibbets and Joseph Kousth (amongst numerous others). The symposium was part of a much larger research project with various outcomes. The first is the publication of a Seth Siegelaub source book to be published by Walter König in early 2015. It will coincide with an exhibition of Siegelaub’s textile collection at the Stedeijk Museum, Amsterdam. Siegelaub developed exhibition strategies by utilising distribution communication channels, one of which was an exhibition project in the July/August 1970 issue Studio International magazine. Exhibitions are characterised as spaces of exchange between the works on show and the viewers who encounter them. Seeing them is essentially a public or an exposed activity. In a magazine the public exhibition space is cotermi­ nous with a private space of reading, meaning that reading and viewing are simultaneous. The magazine issue is one of a group of five issues which are central to the exhibition project, Five issues of Studio International, showing from February 25 to May 3 2015 at Raven Row, London that I am curating. The accompanying publi­ cation will reflect on the ongoing relevance of these issues to contemporary critical practice. The exhibition will explore the centrality of constructivism’s influence on conceptual art and the new sculptural practice in Britain during the 1960s and 1970s. Another component part of the preparation for the exhibition is a film in which I will talk about key issues in the magazine and point out how they were instrumental in defining new attitudes to practice and criticism and why their innovations continue to impact on how we reflect on the dynamics of cultural and historical exchange.


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Jo Melvin at the Institute National de l’Histoire De L’Art, Paris, 2014

Selected exhibitions 2014 ‘Drive the Change’. Zurich, Switzerland: 100plus 2014 ‘Negative Enthusiasm’. London: Marcus Campbell Books 2014 ‘JocJonJosh Hand and Foot’ and Dig Shovel Dig. Zurich: Galerie Weiss Selected lectures and workshops 2014 ‘When Action Speaks Louder than Words: Productive Exchanges between Seth Siegelaub and Peter Townsend’ In: Studio International. Paris: Institute National de l’Histoire De L’Art 2014 ‘Dennis Oppenheim: Danger and the domain of procedural risk’. Dennis Oppenheim talks series. Leeds: Henry Moore Institute 2014 ‘Re-defining editorial strategies in Studio International, Artforum and other magazines’. One day event: Art-Information: Editorial Strategies, Text-based Formats, Publishing Contexts event. London: ICA 2014 Peter Fillingham & Jo Melvin in conversation. Derek Jarman: Almost Bliss symposium. London: CHELSEA Space 2014 There’s a ghost in my house. Panel Chair. London: Tate

2014 New Critical Paradigms in Studio International. Art Criticism Now. Nottingham: University of Nottingham Selected publications 2015 ‘Dennis Oppenheim and the domain of procedural risk’. NOIT 2. London: Flat Time House Institute (FTHo) and Camberwell Press 2014 ‘Peter Halley painting Visual pleasures and aesthetic alienation’. Peter Halley since 2000. St Etienne, France: Musée de Art Moderne 2014 ‘The naked and native dignity of man’. JocJonJosch: Hand in Foot. Sion, Switzerland: Valaris Musée De l’Art 2014 ‘John Hoyland’. Dictionary of National Biography. Oxford: Oxford University Press Selected awards | appointments | acquisitions 2015 Editorial Chair: Seth Siegelaub, Source Book, publisher Walter König 2015 Advisor Drive the Change, 100 years, Hohlstrasse 100 Zurich CH-8004 2014 2013– ongoing Trustee for the Flat Time House, John Latham Foundation Trustee 2013– ongoing OUP DNB advisory board. Member appointed 2009– ongoing Trustee Estate of Barry Flanagan. Appointed


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Hayley Newman Biography  Harley Newman is a Reader

at Chelsea College of Art and Design. Newman studied at Middlesex University, The Slade School of Fine Art, Hochschule für bildende Künste Hamburg and University of Leeds, where she completed her PhD in 2001. In 2004–05, she 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. Newman has had solo shows at Matt’s Gallery, London; The Ikon Gallery, Birmingham; Centre d’Art Contem­ porain, Geneva and The Longside Gallery at the Yorkshire Sculpture Park. She has performed at Camden Arts Centre, South London Gallery, Barbican Art Gallery and The Hayward Gallery. She lives and works in London and is represented by Matt’s Gallery. Research statement  I am interested in per­

formance and performativity, documentary practice, humour, subjectivity and fiction. Over the past few years, I have worked both indivi­ dually and collectively. I 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 the irres­ponsible behaviour of giant corporations. A recent output  Common is a novella set in the

City of London over the summer of 2011. It was published by Copy Press in 2013. Written in the run-up to Occupy, it encompasses a crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone and protests/riots which started in London before spreading across Britain. Written as SelfAppointed Artist in Residence, events in Common take place over a day. The book brings together the past and present/personal and political and asks; how can laypeople under­stand more about the current economic crisis? How

might subjectivity and political agency be combined to create a text that is both immediate and reflective? How might we make sense of crisis from within? What is the impact of the economy on the environment? Common draws on two key literary references. The gothic atmosphere of Edgar Allen Poe’s story The Man of the Crowd helped me find a tone of voice and develop the narrator’s persona as outsider/insider/ detective/artist. The semiautobio­graph­ical novel W, or the Memory of Childhood, by Georges Perec was a model for autobiographical writing, uncertain memory and the use of fantasy to create allegory. Common is a metaphor for collapse: social, environmental and economic. Selected exhibitions ­­–ls 2014 ‘Fields’. Group exhibition. Riga: Arsena Exhibition Hall 2013 ‘The World Turned Upside Down – Buster Keaton, Sculpture and the Absurd’. Group Exhibition. Warwick: Mead Gallery, Warwick Arts Centre. 2013 ‘Head to Head’. Two-person exhibitionwith Emily Speed. Manchester: Castlefield Gallery Selected publications 2013 Common. London: Copy Press Selected performances 2013 Crisis Cabaret. London: Barbican Art Gallery 2012 Facing. Solo performance. Manchester: Cornerhouse Gallery


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Common, Newman, H., 2013, Copy Press, London

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Michael Pavelka Biography  Michael Pavelka is a Reader in

Theatre Design. He both founded and is head of the MA Theatre Design course at Wimbledon. His practice includes over a dozen West End produc­tions including 2014’s acclaimed Twelve Angry Men. Past work includes two productions with Lindsay Anderson: The Fishing Trip and Holiday (Old Vic). He has designed a number of pro­ductions for the RSC and National Theatre. His many Brecht productions include Mother Courage (National Theatre, Kampala) and The Life of Galileo (Best Design MEN Awards). Shakespeare with Edward Hall and the inter­ nationally recognised Propeller Theatre company: Henry V, A Winter’s Tale, Twelfth Night, Richard III and Rose Rage (West End, New York & Chicago).

Propeller is committed to reaching a broader demographic participation and productions attract diverse audiences. Its output now includes the publication of ‘pocket’ texts from the full production for educational outreach purposes. A recent output  A Midsummer Night’s Dream.

Production & costume design. Propeller Theatre Company, European Tour (2013–14) My over-arching design concept for A Midsummer Night’s Dream drew on the structure of Benjamin Britten’s opera by designing from the perspective of the spirit characters who question human experience.

First, I visually neutralised and homogenised the performers in order to provide a ‘blank Research statement  My current practice-based canvas’ on which to overlay the spirit’s outward research continues to extend fifteen years of appearance of human types. I did this by production work with the ensemble company designing a unifying body-aesthetic for the Propeller Theatre, of which I am a founding mem­ acting ensemble by matching hair colour, ber. Each project spans eighteen months and painting faces, shaving and waxing bodies and involves a double bill of Shakespeare plays, pro­ composing uniform proportions through du­ced in England and then toured across the UK, the precise arrangement of costume elements continental Europe, America and the Far East. bespoke to each performer’s anatomy. This These radical but accessible productions of scheme transformed the acting ensemble Shakes­peare’s most challenging and layered works into a chorus of androgynous Victorian manne­ are explored in the context of all-male casting. quins. I referenced images of dolls dressed in a combination of male and female foundation The design supports performance which is garments. I then overlaid this with charactercharac­terised by its intensely physical approach, specific costume elements building images speed and clarity. Single-gender casting presents which described the spirits’ mimicking of their opportunities to investigate the language of human counterparts: showing archetypes of clothing and movement; changing it from project gender and social caste. to project depending on the metaphorical posi­ tions of the characters. The ensemble presents The scenic design which referenced the dynamic solutions to narratives usually told aesthetics of Jan Švankmajer’s stop-motion by a chorus with a specifically designed social animations, was also echoed in choreographic identity, unified by costume, music and move­ movements (and resonated with my Czech ment. The chorus are seen ‘devising’ the stories upbringing). The floor I designed folded into a in view and underscores them with live sound 3D stylised miniature house which enabled scapes created with found objects and musical revelations and disappear­ances. I designed an instruments. Their continuous presence open acting area surrounded by strings of provides the context for scenographic ideas suspended white antique chairs which echoed in and images. actor’s use of theatre conventions such as flash­


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A Midsummer Night’s Dream. Photo: Dominic Clemence

back, freeze frame and flash-forwards, in telling and retelling the story. The design’s simple aesthetic paid homage to Sally Jacobs’ 1970 RSC production. Weightless chairs and layers of magnified white lace that gave the space a sensuous and ephemeral impression. This contrasts with the fast pace and violence in the performance. The architecture provided a challenging environment which helped signify the separation of theatrical realities and gave performers possibilities to run, climb and perch. This gave it Propeller’s trademark physical style. Selected exhibitions 2013 ‘Production of Richard III’. Cardiff: World Stage Design Selected publications 2013 Holland, P. (ed.) Shakespeare Survey. 1st ed. vol. 66. Cambridge: Cambridge University Press, 2013. Shakespeare Survey Online. Web. 11 June 2014

2012 Gormley to Gaga, Transformation & Revelation. London: V&A Publishing Selected performances 2013–14 Twelve Angry Men. London: Garrick Theatre. 2013–14 A Midsummer Night’s Dream and The Comedy of Errors. Propeller Theatre UK and European tour. 2013 The Hanging Gardens. World premier of Frank McGuinness’ play. Dublin: Abbey Theatre 2013 Twelfth Night and The Taming of the Shrew. Propeller Theatre UK, European and United States tour 2012 Hay Fever. Dublin: Gate Theatre. Dublin and Charleston SC Spoleto Festival Selected awards / appointments / acquisitions External Examiner for MA Scenography at Central School of Speech and Drama


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Daniel Sturgis Biography  Daniel Sturgis is Reader in Painting

at the University of the Arts and the Fine Art Programme Director at Camberwell College of Arts. Sturgis’ work is regularly exhibited in the UK and internationally. It has featured in museums including: The Chinati Foundation (Marfa, Texas), Camden Art Centre (London), and Turner Contemporary (Margate). His curated projects include: The Indiscipline of Painting (Tate St Ives), Daniel Buren Voile Toile/Toile Voile (Wordsworth Trust) and Jeremy Moon A Retro­ spective (Kettle’s Yard). In 2012 he was appointed Visiting Professor at Nagoya University of Arts, Japan. www.danielsturgis.co.uk Research statement  I am a painter. Through

my studio practice and associated curated projects, I am interested in investigating how painting can retain its criticality and utilise the lineage of modernist abstraction once many of the tenets of modernism itself have been called into question. I wish to stage this debate ‘within painting’ and to ask how work can address both the contemporary world and the history of the medium.

prefigured much modernist thinking. The idea that landscape and the natural world could be a visual and phenomological experience concerned with beauty, taste, and wonder can be seen as an alternative interpret­ation of the same idea (derived from the philosopher Immanuel Kant) which forms the bedrock of the modernist art-criticism of Clement Greenberg and Michael Fried. But landscape itself also informs a strain of British modernist abstraction. Artists like Ben Nicholson and Barbara Hepworth have strong connections to the idea of nature – or how abstract art was a response or equivalent to the natural world. Tangentially, this idea also connects with very early hard-edged painting; on the American West Coast the painter Lorser Feitelson made some curvaceous hard-edged paintings which he referred to as ‘magicalboulders’. It was reflecting on these interrelationships which led me to this series of paintings, where I have tried to reflect on these connections but also acknowledge my belief that abstract painting needs to retain a confronta­ tional quality. This is perhaps rooted in the diame­trically opposed associations it has with other visual cultures and the world of design, decoration and the sign.

A recent output  I exhibited a series of paint­

ings in an exhibition called And Then Again at nowshowspace. This exhibition brought together examples of two separate series of paintings and was the first London viewing of the ‘boulder paintings’. This series of paintings has taken time to gestate, at least eight years, and from this initial showing I am developing the work for a museum exhibition in 2015. Throughout the summer and autumn of 2006 I was a guest artist at the Wordsworth Trust in Cumbria. The Trust is the location of the romantic poet William Wordsworth’s house and now the Centre for British Romanticism. The Trust houses an amazing archive and library of texts and manu­ scripts by the Romantic poets. I was there to research ideas and to think about how the writings of the Romantic poets helped form and

Selected exhibitions 2014 And Then Again. London: noshowspace 2014 Crossing Line. Leeds: &Model’s 2013 New Works. Stuttgart, Galerie Hollenbach Group shows 2013 Theatrical Dynamics. Torrance Art Museum, CA, USA 2013 Delightful. Paisley: Paisley Museum and Art Gallery 2013 Residence. Lancaster: Peter Scott Gallery 2013 Akerman Road Frieze. London: Ackerman Road


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The Way We Are, Dan Sturgis, acrylic on canvas 41 Ă— 51.5cm, 2012

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Athanasios Velios Biography  Athanasios Velios studied

Conservation in Greece and completed a PhD in Computers in Conservation at the RCA working with researchers from the Imperial College. He is deputy director of the Ligatus research centre in CCW and since 2009 has been the web­ master of the International Institute for Conservation. As well as being a member and a technical reviewer of the AHRC Peer Review College, he has reviewed a number of conference and journal papers. He supervises PhD research in the fields of digital applications, archiving and conservation and has taught digital docu­ men­tation in the UK and Greece. Research statement  My research focuses

on the documentation of archives and museum collections with a specific interest in conser­ vation and bookbinding. I support the adoption of structured data for documenting humanities resources and I have developed a number of schemas for archive and collection surveys. I promote the publication of humanities data as Linked Open Data, I have worked with ontologies and thesauri including the CIDOC-CRM and the Getty vocabularies. I have proposed Creative Archiving as a way of communicating archivists’ expert knowledge in the archiving process using the John Latham Archive as a case study. I have initiated a series of CCW events on the value of open-source software. I also con­tribute to the development of the Drupal content management system. A recent output  Ligatus secured an AHRC net­

working grant to produce a bookbinding thesaurus in collaboration with a number of European partners. Many of the terms/concepts of the thesaurus have been documented else­ where including the Getty Arts and Architecture Thesaurus (AAT). Similar references to the Getty vocabularies were made in other Ligatus research projects which I have led. These include the “Classification of Content for the International Institute for Conservation” (IIC) and “Archive

As Event: the online archive of the artist John Latham”. Until recently it was only possible for users to retrieve these AAT references manually; automatic retrieval by software was difficult, so references would not appear in any automated lists (such as search results). Within the framework of the semantic web, linking to standardised concept thesauri should be possible if data is ‘open’ (i.e. without any copyright restrictions) and ‘denotable’ (i.e. having unique web addresses). This would classify data as ‘Linked Open Data’. Earlier this year the Getty published the AAT as ‘Linked Open Data’. Therefore it is now possible to undertake automatic and machine-friendly linking. Because Drupal is my development framework of choice, I decided to produce a tool (a Drupal module) to allow this semantic linking of any Drupal content with the Getty vocabu­ laries. This was less than a day’s work: Drupal is open-source and much of the code and software components I needed were already produced (e.g. the Web Taxonomy module) by other devel­ opers. Semantic linking from Ligatus’s project to the AAT is now possible and scheduled for 2014/15. Selected publications 2014 Beyond databases: Linked open data for bookbinding descriptions, Velios, A., St Pölten, Austria: Men and Books 2014 ‘Balancing the books at the Sir John Soane’s Museum in London: a new library management and conservation survey tool for historic libraries’. In: Martin, A., Pickwoad N., and Velios A. (eds) Care and Conservation of Manuscripts vol 15. Copenhagen: University of Copenhagen 2013 ‘Archive as Event: Creative Archiving for John Latham’. In: All That Stuff. London: Libri publishing, pp.109–121 2012 ‘The digitisation of bookbindings’. In: Velios, A. & Pickwoad N. (eds), Digitizing Medieval and Early Modern Material Culture. Arizona: New Technologies in Medieval and Renaissance Studies Series


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2011 ‘Creative Archiving: a case study from the John Latham Archive’. Journal of Society of Archivists, vol. 32, issue 2, pp. 255–271 2011 ‘The John Latham Archive: an on-line implementation using Drupal’. Art Documentation, vol. 30, issue 2, pp. 4–13 2011 ‘Manuscript boxing: a technique for objective spatial arrangement’. Velios, A., Pickwoad N., & Honey A. Journal of Paper Conservation - IADA Reports, vol. 12, issue 4, pp. 16–25 2011 Storing library collections: a workflow for packing and tracking items in the library of the St. Catherine’s Monastery. In: Bendix, C., & Velios A. (eds) Care and Conservation of Manuscripts 13. Copenhagen: University of Copenhagen

Part of code listing of the Getty AAT plugin for the Web Taxonomy module for Drupal 7.0

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Research Centres and Networks


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Research Centres and Networks

Research Centre for Transnational Art, Identity and Nation – TrAIN Director  Professor Toshio Watanabe Deputy Directors  Dr. Michael Asbury and

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 Professor Deborah Cherry jects and through the supervision of relevant Centre Members  Professor Oriana Baddeley, postgraduate study. Issues and debates arising Professor Sonia Boyce, Professor Jane Collins, from research activities are disseminated by Dr David Dibosa, Professor Paul Goodwin, TrAIN conferences, exhibitions and publicaDr Yuko Kikuchi, Pratap Rughani, Dr Lucy Steeds, tions. Throughout the academic year, TrAIN Professor Carol Tulloch organises public events, such as the TrAIN Open Administrator  Nick Tatchell Series, which are held at Chelsea College of (n.tatchell@arts.ac.uk) Arts, Central Saint Martins and London College Website  www.transnational.org.uk of Communication where artists, theorists Twitter  @TrAINCentre and curators present their work and ideas. More information about the Centre’s activities, The Centre for Transnational Art, Identity and core members and visiting scholars, is available Nation (TrAIN), at The University of the Arts at www.transnational.org.uk. London Research Centre is a forum for historical, theoretical and practice-based research Key partnerships include the TrAIN/ Gasworks in architecture, art, communication, craft and Artists’ Residency, an international residency design. which raises specific questions for individual artists and wider issues regarding how both In an increasingly complex period of globali­ local and international contexts are negotiated sation, established certainties about the in practice; the V&A, Iniva, Autograpgh ABP nature of culture, tradition and authenticity and Tate. are being constantly questioned. The movement of peoples and artefacts is breaking down Current TrAIN research projects include Birth and producing new identities outside and of Cool: Style Narratives of the African Diaspora beyond those of the nation state. It is no longer (British Council Funded), Translating and easy to define the nature of the local and the Writing Modern Design Histories in East Asia for inter­national and many cultural interactions the Global World (AHRC). Russel Wright and Asia: now operate on the level of the transnational. Inter-Asia Modernities and Transnational Design History During the Cold War (British Academy/ TrAIN is a dynamic research forum for interna­ Leverhulme), Research on the Art of Maud Sulter tionally recognised scholars and practitioners (Arts Council) and Afterlives of Monuments inside and outside the University of the Arts (British Academy/Nehru Centre High Commis­ London. TrAIN offers research excellence and sion of India). leadership through its coherent programme of events and projects. It brings together research Previous TrAIN projects include: in transnational issues in art and design; both Forgotten Japonisme, the Taste for Japanese Art in globally and locally. Central to the Centre’s Britain and the USA, 1920s–1950s (AHRC funded); activities is a consideration of the impact of Dress and the African Diaspora (AHRC funded); identity and nation on the production and con­ British Empire and Design; Ruskin in Japan, 1890– sumption of artworks and artefacts in this 1940, Nature for Art, Art for Life (winner of Japan new global context. Transnational relationships Festival Award and Gold Medal, Gesner Award, are explored through crossings which traverse Tokyo); Other Modernities; Refracted Colonial


Research Centres and Networks

Modernities: Identities in Taiwanese Art and Design (Chiang Ching-kuo Foundation funded); Modernity and National Identity in Art: India, Japan and Mexico, 1860s–1940s (in collaboration with the University of Sussex, AHRC funded). Meeting Margins, Transnational Art in Latin America and Europe, 1950–1978 (in collaboration with the University of Essex, AHRC funded).

Les Bijoux, Maud Sulter, 2002. © Maud Sulter / The Artist’s Estate

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Research Centres and Networks

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 terminology for historic bookbinding. A recent a project in the library of the monastery of Saint Catherine on Mount Sinai, Egypt, focused on creating in a detailed bookbinding glossary and a methodology to record historic bookbindings. Following this, LIGATUS is leading a large network of European partners in the develop­ ment 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, and designing 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. LIGATUS bookbinding schema

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 Euro­ poean partners to serve as the basis for an

online descriptive process to record 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. These have been joined by 10,000 digital images of the bindings on early printed books. Based on this material, LIGATUS is building a repository of an additional, unrivalled, collection of mate­ rials relating to the history of bookbinding. These were 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 arch­ ives. 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 digitised 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. Creative archiving

The archivist is the keeper of historical truth. Objectivity in archival practice is a much debated issue in the profession. Post-modern thinking on archives led archivists to accept the inevitab­ ility of their subjectivity as a disadvantage. This


Research Centres and Networks

135

Dr Georgios Boudalis and the summer school participants examining books at the Bibliotheque Nationale de France.

view ignores 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 a method­o­ logy 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. They 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 libraries, both secular and monastic. A know­ ledge of the structure of bindings can help conservators, librarians, book historians and scholars who work with old books to understand the age, provenance and significance of bindings for historical research and cataloguing. It can also inform appropriate decisions-making regarding conservation treatments, housing and access. Descriptions of bindings are also important for digitisation 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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Research Centres and Networks

The Centre for Drawing: Wimbledon

The Centre for Drawing: Wimbledon is focused on developing research, debate and support for CCW staff, students and the Graduate School. The Centre aims to develop a better under­ standing 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 for BA Drawing at Camberwell College of Arts, Simon Betts, Dean of Wimbledon College of Arts and Professor Stephen Farthing, RA, The UALRootstein Hopkins Chair 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 & Humanities at Teachers College, Columbia University, New York. In 2012, Wimbledon College of Arts and the research network Thinking Through Drawing, hosted the international symposium Drawing in Steam. The symposium discussed the role of drawing within the disciplines of science, medicine mathematics and engineering. Also in 2012, Kelly Chorpening organised Drawing Out, 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 McPeake (a recently completed CCW PhD student), Professor Stephen Farthing,

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

Kelly Chorpening and Professor Paul Coldwell. The subject of the conference was ‘Drawing and Writing’. In 2014 Chorpening, Betts, Farthing and Sarah Woodfine, Pathway Leader for Sculpture at Wimbledon College of Arts, gave papers at the DRAW Conference at Carnegie Mellon University, Pittsburgh, USA. Recent publications produced by centre members include. The Drawn Word: every time I write my name I am drawing (2014) London: Studio International; Eleven Pictures You Cannot Paint (2013). Melbourne: Metasenta; The Sketch Books of Derek Jarman (2013) London: Thames & Hudson; The Sketch Books of Nicholas Grimshaw (2009) London: RA publishing; The Sketch Books of Jocelyn Herbert (2011) London: RA pub­ lishing; and The Good Drawing (2012) London: CCW Graduate School.


Research Centres and Networks

Textiles Environment Design

The Textile Environment Design (TED) research group at Chelsea was established in 1996. It is a unique collective of practicing 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 the designer can play in reducing impact on the environment and providing tools for design-centred solutions.

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Since 2011, TED has been part of the ‘MISTRA Future Fashion’ (MFF) consortium, a research program funded by the Swedish Government’s Foundation for Strategic Environmental Research. Its aim is to bring about significant change in the fashion industry leading to sustain­­able development within the industry and throughout society. The consortium structure integrates eight cross-disciplinary research projects including natural, social and political sciences and design; creating a common research platform.

TED developed THE TEN – a set of sustainable The research led by Professor Rebecca Earley is design strategies in response to the increasingly titled ‘Interconnected design thinking and harsh environ­mental impacts of the textile processes for sustainable textiles and fashion’. industry, using this well-quoted reference as a As part of the project deliverables in 2012 provocation for action, Eighty percent of a TED launched the open-innovation platform product’s environmental and economic costs (are) www.textiletoolbox.com, This will be trans­committed by the final design stage before pro­ formed in autumn 2014 for an online exhibition duction begins (Graedel et al, 1995/1917). Since of new prototypes developed during the project 1996, TED has used its portfolio of international in response to research findings. It will be workshops and lectures to develop THE TEN followed by a final report in 2015. The program as an adaptable approach to sustain­ability in the also included a training scheme for design textiles and fashion industry, but increasingly staff at H&M, a PhD scholarship in Social Textiles reapplied to wide range of industries including and the design of elective courses as part of interior, architecture, and product design. the Guest Professorships at Konstfack University The strategies were developed in order to apply of the Arts, Crafts and Design in Stockholm. new research findings from TED work­shops, which include elements of strategic design think­ The TED website (www.tedresearch.net) is ing about the lifecycle and aesthetic issues built as a resource for students and professional of a product. designers, extending the dissemination of TED research beyond its immediate culture. THE TEN strategies also function as a frameGroup members work for large-scale companies and small-to Rebecca Earley (Professor of Sustainable Textile medium-enterprises (SMEs) to be pro-active and and Fashion Design, Director of Textiles Future create real change in design and production. Research Centre (TFRC) Through TED’s TEN design-thinking workshops, Earley's research work and creative practice the strategies can be a catalyst for companies has sought to develop strategies – THE TEN – and individuals to apply sustainable thinking to for the designer to employ in seeking to reduce decisions. This drives innovation and new the environmental impact of textile production, ways of doing business. Recent consultancies consumption and disposal. Her core approach include Stanhope Plc, PPR Home (now Kering), is based on learning through practice, as can H&M, The Continuity Company (TCC Global), be seen in her Top 100 and Worn Again projects, the Sustainable Fashion Academy (SFA), Sloggi, both of which started as an exploration of Puma, VF Corporation and Gucci. textiles upcycling.


138

Research Centres and Networks

The TEN cards are translated to Swedish and traditional Chinese, 2013

Kay Politowicz (UAL Emeritus Professor)

Clara Vuletich (MISTRA PhD Candidate)

Politowicz is co-author of THE TEN and cofounder of TED. She is a designer, researcher and former BA Textiles Course Director known for both her work in printed textiles and her theoretical and practice-based research into sustainable textile design strategies.

Vuletich was the Research Assistant at TED between 2006–2011. During this period she became increasingly aware of the urgency with which we needed to address fundamentals of the textile and fashion industries – in a way which implicitly involved designers that designers are implicitly involved in. She is now the funded MISTRA Future Fashion student with TED.

Dr Kate Goldsworthy (TED Senior Research Fellow, lead researcher at TFRC)

Goldsworthy became a permanent member of the TED team after completing her PhD in 2012. It explored the role of new manufacturing processes and digital technologies in moving the textile and fashion industry towards a more circular economy. Her core interests are design for cyclability, new finishing technologies and materials R&D.

Miriam Ribul (Research Assistant)

Ribul 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 which include material development and social engagement.


139

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


Bright Publications


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Bright Publications

Bright series

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 lie at the centre of a vision whichenables learning to remain sustainable despite impediments. Through the series Camberwell, Chelsea and Wimbledon Colleges of Arts (CCW), consolidate 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 development of thinking across national borders and dis­ ciplinary 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 engage­ ment with knowledge production and dissemi­ nation 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 Publications

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Bright Light

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. Editorial board • Dr David Dibosa, Bright Light Series Editor • Paulus Dreibholz, Head of Atelier Dreibholz • Prof. Stephen Farthing, The Rootstein

• • •

• •

Hopkins Chair of Drawing, University of the Arts London Hans Hedberg, University College Director, Valand Academy, University of Gothenburg Laura Lanceley, Editorial Assistant, Bright publications Prof. Malcolm Quinn, Director of Graduate School and Associate Dean of Research Camberwell, Chelsea, Wimbledon Colleges Prof. Carol Tulloch, Professor of Dress, Diaspora and Transnationalism Prof. Chris Wainwright, Bright Light Editor in Chief, Head of Colleges: Camberwell, Chelsea, Wimbledon. Pro Vice Chancellor University of the Arts London

Bright Light Issue 1: Implicit Geographies Editor: David Dibosa Editorial Assistant: Laura Lanceley Specifications: 76 pages, softback, single colour print, 2 colour cover ISBN: 978-1-908339-14-0


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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, public goods, spaces, services and know­ledge. It 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 which 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: PARA D E – Public Modes of Assembly and Forms of Address Editoris: 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 several 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 illuminated 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. These directly relate 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, cura­ torial practice, finance and banking both about the values underpinning these relationships as they were formed in the past and as an invita­tion 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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Bright Publications

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 and Recreating Histories. The themes engaged with current preoccu­pations in contemporary critical practice in the visual arts. Identity Formation relates to questions of subjecti­fication. These have held centre stage courtesy of the French post-structuralist 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, releasing the potential of the image as both catalyst and inter­ruption. In Spaces and Spectators, the message gets spectacular­ised. 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 materi­ality 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 techno­logy 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 environment become the centre for an email relay which demonstrates the way intelli­gence-gathering is based on the topo­ graphy 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

memoriali­sation. 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. It also included 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 the 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 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 which took place on 28 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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Bright Publications

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 recontextualisa­ tion of what we already experience and witness, much of which is on our doorsteps. ‘Economic’ and ‘crisis’ are two familiar terms which have dominated the second decade of the 21st century, and have given rise to shifts in political discourse which fuel 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 which 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 which 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 defor­est­ ation as a central driver for rural suste­nance in the Northern states of Brazil. Amidst all this repositioning, shifting of 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 2014/15 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 Copy Editor  Louise Callaghan Design  Atelier Dreibholz, Paulus M. Dreibholz and Ana Luísa Martelo Printing  Paul Gerin, Vienna 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 S B N : 9 7 8 - 1- 9 0 8 3 3 9 -14-0 © 2014 CCW Graduate School and contributors


ISBN 978-1-908339-14-0

ISBN 978-1-908339-14-0

9 781908 339140

CCW Graduate School Directory 2014-15  

This publication marks the sixth year of the Graduate School of Camberwell, Chelsea and Wimbledon Colleges.

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