CCW Graduate School Directory 2015-16

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Graduate School Directory 2015/16

ISBN 978-1-908339-14-0

ISBN 978-1-908339-14-0

9 781908 339140


Graduate School Directory 2015/16

Graduate School Directory 2015/16

Contents 5 Introduction Partnerships 12 British School of Athens 12 Cape Farewell 13 Geneva University of Art & Design 13 ICA 14 National Theatre 15 Society of Artistic Research 16 Tate 16 V&A Journals 20 Introduction 20 The Moving Image Review and Art Journal (MIRAJ) 21 JAWS – Francesca Peschier 22 Journal of Visual Arts Practice (JVAP) 22 Bright Light 23 Theatre & Performance Design (TPD) MA & Graduate Diplomas 26 List of CCW Grad Dips and MA Courses Research degree 30 Research study and how to apply 30 CCW Research Degree Supervisors 32 All registered PhD students 33 All confirmed PhD students 35 Completed research degree students 14/15 36 Profile: Kimathi Donkor PhD Experience at CCW 37 Profile: Mike Ricketts PhD alumni

Visiting Professor and Fellows 40 Visiting Professor David Bailey 40 Visiting Fellows David Buckland, Mark Davy, Chris Smith 41 Chairs Professors 44 Paul Coldwell 46 Jane Collins 48 Neil Cummings 50 Rebecca Earley 52 Catherine Elwes 54 Stephen Farthing 56 Eileen Hogan 58 Nicholas Pickwoad 60 Malcolm Quinn 62 Carol Tulloch 64 Chris Wainwright 66 Toshio Watanabe Readers 70 Michael Asbury 72 David Cross 74 Mark Fairnington 76 Sigune Hamann 78 Yuko Kikuchi 80 Jo Melvin 83 Daniel Sturgis 84 Athanasios Velios Research Centres 88 TrAIN 90 Ligatus 92 TED


Introduction Malcolm Quinn Professor of Political and Cultural History Associate Dean of Research Director of Camberwell, Chelsea and Wimbledon Graduate School University of the Arts London

Camberwell, Chelsea and Wimbledon (CCW) Graduate School is home to our research degree and taught postgraduate students, professors, readers, and fellows, as well as two University Research Centres – TrAIN and Ligatus. TrAIN, the Centre for Transnational Art, Identity and Nation, deals with the impact of identity and nation on the production and consumption of artefacts in a global context. Ligatus Research Centre combines the study of bookbinding and the conservation of books with research into modern digital data analysis and collection management tools. 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 collaborations with external institutions, organisations, and key individuals in the cultural sector and beyond. Our commitment to the quality and diversity of our UK and worldwide collaborations is one of three key elements that have defined Camberwell, Chelsea and Wimbledon (CCW) Graduate School since its inception. The second element is a requirement to create and maintain a direct relationship between research-focused activity and teaching, so that research forms a crucial aspect of our student learning experience. The requirement to build a closer relationship between research and teaching is also advanced by our Graduate Teaching Scheme for PhD students, which began in 2013/14. The scheme provides training and experience for PhD students and allows them to teach from their research interests into courses and programmes across CCW. In 2014/15, CCW Graduate School had its first teaching award from the scheme, when PhD student Kimathi Donkor was highly commended for his

Robert Storr with MA Curating & Collections students. Photograph: Hedyah Song

work with students at Camberwell College of Arts. The third key element of CCW Graduate School has been the provision of overarching thematic reference points that form a catalyst for our research activity and a means of responding to broader social and cultural agendas that transcend our subject-specific concerns. Our previous commitment has been to four related thematic areas: Environment, Technologies, Social Engagement and Identities. In 2015/16, we are reviewing these four themes and focusing on the single theme of Resilience. Resilience is a capacity to encounter change and continue to thrive. It is the ability to use shocks and disruption to trigger creative regeneration. The first publicly funded art school in England, the School of Design, was intended to be a ‘resilient’ institution – it was established in 1837 to absorb the shocks of industrial capital and ensure the continuity of culture under those conditions. In 2015 the shocks that art schools encounter have become intensified, as the environmental effects of the ‘Anthropocene’ era that were accelerated by the industrial revolution have begun to produce existential threats. However, the question for art schools now is exactly the same as it was in 1837 – what is the appropriate cultural response to these shocks? This question applies to our internal culture and social relationships in CCW Graduate School, as well as our roles in producing, forming and analysing culture outside the university. In the CCW Graduate School ‘Year of Resilience’ in 2015/16, we are testing new relationships



between teaching and research, and new structures for internal and external collaboration. We are also testing the ongoing relevance of the existing CCW Graduate School themes, learning from the work of the UAL ‘Cultures of Resilience’ project, with a particular focus on Community & Places (resilience as community building and place making), Empathy & Proximity (resilience as the quality of deep human interactions) and Making & Repairing (resilience as care for our material environment). More broadly, the challenge for the academic year 2015–2016 is to use the curiosity, sustained attention, and openness that are necessary for creative research, to develop an approach to resilience in the practice, history and theory of art, design and performance at CCW. This can include placing diversity, risk, innovation, and openness at the centre rather than at the margins of our organisation, and developing practices that challenge models of growth and optimisation and the ways that they organise our futures. It can include proposals for new networks of cocreation, co-design or collective learning that offer alternatives to unsustainable practices. A number of CCW initiatives, research programmes and collaborative projects have contributed to developing our focus on resilience in 2015/16. The collaborative programme of research on environment and sustainability, which we have established between CCW Graduate School and the CCC (critical curatorial cross-cultural

#TransActing: A Market of Values, Chelsea College of Arts

LATEWI signage factory. Photograph: Polly Tracey

cybermedia studies) research-based master’s programme and pre-doctoral seminar at the Haut Ecole d’Art et de Design (HEAD) Geneva University of Art and Design, takes on a new intensity in relation to our ‘Year of Resilience’ in 2015/16. In 2014/15, an extremely productive week-long research exchange between our two institutions, led to collaborative work on The Anthropocene Atlas of Geneva, which studies the processes and contexts by which anthropogenic global environmental change is represented, and uses the methods and collaborative resources of artistic practice to produce new interdisciplinary representations of the Anthropocene. Look At The Estate We’re In (LATEWI), was a twoday symposium at Camberwell College of Arts on 28 and 29 May 2015, which examined the debates and issues surrounding arts practice and social housing. LATEWI was a CCW Graduate School event initiated by two Camberwell College of Arts tutors, Patti Ellis and Jordan McKenzie, and developed and delivered by students across a series of venues. LATEWI embodied the principle that ‘before resilience comes resistance’. The symposium was a complex unfolding of the ways that artists and cultural activists are involved with a struggle to influence and be part of the political landscape, to operate in social contexts, and develop a practice that works with diverse audiences and is visible beyond the walls of the gallery. It was also about how students at UAL operate not only as cultural producers, but also as citizens, working in ways that foster democracy, transparency, and social responsibility. As such, the very structure of



LATEWI was an experiment in social, artistic, Another ‘resilient’ response to the urban and political agency, because the agenda, environment was developed on 25 March 2015 methodologies and construction of the whole at Wimbledon College of Arts, when course event was completely organised by the students, leaders Edwina fitzPatrick and Geraint Evans led with mentoring from Patti and Jordan. As Patti ‘Wilding the Edges’, a CCW Graduate School and Jordan have put it, ‘LATEWI took place in event that involved 60 people participating in a series of venues in Peckham that included a a walking tour around Wimbledon. Other tour pool hall, fitness centre and liberal club. There leaders were Nick Edwards (an artist associated were panel discussions, a curated show of with the ‘Cape Farewell’ project based at Chelsea student work, workshops delivered with local College of Arts) and UAL Chairs Lucy Orta residents, and a film event. The panel discussions, (Art & Environment) and David Toop (Sound and selected and chaired by students themselves, Improvisation). Edwina and Geraint wanted to addressed issues of activism, gentrification, socially generate conversations in response to the area’s engaged practice, political, social and cultural unnoticed peripheries. The walk focused on responsibility and how artists work with and how we engage with landscape as culture – for local communities. In a wider climate of specifically where the ‘wild’ and ‘cultivated’ aggressive cuts to social housing and the associated environments overlap. It encouraged us to consider ‘social cleansing’ of whole areas of inner city how these valuable green interstices support London, LATEWI brought together academics, wildlife, biodiversities, and even food production. artists, local community members and activists The Wilding the Edges walkers were asked a simple to discuss the role of the artist in resisting or thing – to pay attention. Resilience comes contributing to these processes of change.’ through understanding not just the nature of a system, but how we might operate and behave within it. In London, we spend so much time in transit and as a survival strategy it is tempting to ignore where we are and who we are with. This urban alienation was discussed at length in Lucy Orta’s group, who were seeking out the ‘Genius Loci’ of the place. David Toop’s group walked in silence. They reported a heightened awareness of familiar places because they were privileging their non-visual senses. They made the observation that silence is often a signifier of a wealthy area, and that listening created connections between people, thereby empowering them. One of our PhD students, Charlotte Webb, was involved in another event in 2015 that is relevant to the ‘Year of Resilience’ in 2015/16. This event was ‘The Work We Want’ which took place as part of the Southbank Centre’s ‘Web We Want’ Festival and was concerned with how the web is changing the world of work. As Charlotte explains, ‘We wanted to know more about the potential [that] online platforms offer for both empowerment and exploitation, and to interrogate the global power relations that are



Nick Evans leads a group on Wilding the Edges walking tour

in play when people access and carry out work online … Although the project evolved into a piece of social research, we were keen to use artistic tactics to engage our audience, so for the ‘Web We Want Festival’ we decided to frame ourselves as an imaginary online freelance platform, and to pay the audience in peanuts for watching and tagging our videos. We hope that this provocation will generate interest and debate around what is a complex and pressing set of questions about whether digital labour in its current form is really the work we want.’

‘Projection/Expulsion: Strategies of Beholding’, which highlighted new approaches to spectatorship in which a tension is realised between projecting onto the artwork and experiencing a sense of expulsion, exclusion or even repulsion. On 27 November 2014, Robert Storr, Dean of the Yale School of Art, led a masterclass with Chelsea MA Curating & Collections students and a panel discussion ‘On Interpretation’ with CCW staff. In December 2014 ‘What Work Does the Artwork Do?’, our first CCW Graduate School event as part of a new collaboration with the Institute of Contemporary Arts, focused on the work of Art&Language.

In May 2015, ‘Victorian Futures’, a major twoday conference at Chelsea College of Arts in collaboration with Middlesex University and the V&A, used the past to look critically at the future of a national debate on art, democracy, and public culture. This national debate began in the 1830s, was developed in the 1850s with the Great Exhibition and Albertopolis, was revisited in 1951 in the Festival of Britain and is now being echoed once again in the plans for the ‘Olympicopolis’ development in the Queen Elizabeth Olympic Park, where University of the ‘Look at the Estate We’re In’ and ‘Wilding the Arts London, University College London, the Edges’ were both CCW Graduate School events V&A, and Sadler’s Wells will be establishing new which had been selected through our CCW centres for the arts, education, and research. Graduate School Forum and developed over The 2014/15 academic year ended by anticipating several months with financial and administrative the ‘Year of Resilience’ in 2015/16, with support from the Graduate School Team. The ‘#Transacting: A Market of Values’ held on Chelsea role of the Graduate School in this process is to College of Arts Parade Ground on 11 July 2015. provide the three CCW Colleges with support Publicity for the event announced that this was and a public platform to develop their research ‘a free one-day market with a difference: in agendas and engage others in debate. Another addition to presenting goods in exchange for notable CCW Graduate School event in 2014/15 money, stalls will invite people to swap skills, was ‘The Olympics Drawn’ symposium and services, repairs, knowledge and other resources exhibition, which was held in October 2014 at … The event will explore alternative ideas and Wimbledon College of Arts and led by Professor kinds of “value” and to celebrate shared Stephen Farthing. This event marked the experience and collective endeavour. Multiple conclusion of a two year research project on currencies will circulate, not all of them monetary.’ drawing and the Olympics by CCW Post-Doctoral Fellow Joanne O’Hara, funded by the Rootstein 2014/15 was also a year in which CCW celebrated Hopkins Foundation. At Chelsea College of Arts its part in UAL’s score in the REF (Research in March 2015, Dr Ken Wilder led the event Excellence Framework), a combined audit of our



Private view of The Research Hub, the annual exhibition by CCW’s first year research students. Photograph: Claire Mokrauer-Madden

research environment, research outputs and research impact (the social and cultural benefits of our research). UAL’s overall score showed that 83% of our submitted outputs were at the top two assessment levels of ‘world-leading’ and ‘internationally excellent’. We have also celebrated the success of Professor Sonia Boyce, Professor Paul Goodwin, and Dr David Dibosa, members of the TrAIN Research Centre who were awarded over £700K by the Arts and Humanities Research Council (AHRC) for a three year research programme on ‘Black Art and Modernism’, the largest AHRC grant ever awarded to UAL. A similar amount of European research funding was awarded to Dr Kate Goldsworthy, Senior Research Fellow in TED (Textiles Environment Design) at Chelsea, who is Principal Investigator for ‘Trash to Cash’, a project that investigates how to produce high-value products from zerowaste textiles.

All of these research projects and the excellent work of our students and staff shows how CCW Graduate School reflects our academic vision, which is predicated on celebrating the ethos that characterises our three specialist art colleges of Camberwell, Chelsea and Wimbledon. We are ambitious in what we can achieve through supporting excellent research in the three colleges. We enable staff and students to develop their research careers and support them to realise the maximum cultural and social impact for their research.

Notes Charlotte Webb, Making Work We Want (accessed 7 July 2015)




The British School at Athens Arts Bursary and Residency for CCW PhD Students

The British School of Athens (BSA) and CCW Graduate School are embarking on a new joint initiative in 2015/16. An arts residency in Greece, supported by a bursary, will be offered to PhD students at CCW annually in each of the next three years. This scheme furthers the BSA’s mission to support UK-based researchers within its broad arts, humanities, and social sciences remit. The BSA, founded in 1886, maintains facilities in Athens which include the Director’s house (with a studio recently created in the roof space); the main building, housing library, archive, museum, common rooms, hostel rooms, kitchen, dining room, and administration; a hostel annexe; the Assistant Director’s apartment; and a laboratory for science-based archaeology. The BSA has a relaxed atmosphere enabling researchers to cross-fertilize their own different fields of interest, as well as to make links with local interests. CCW’s current research in archives, cultural memory, and landscape and transnational contexts for cultural transmission, marry well with those in which BSA is active in line with its strategic plan. The selected student will offer an introductory lecture at the start of their residency at the School and host an open studio event at some point during their residency. The Student will also offer a lecture at CCW on returning from the Residency.

Cape Farewell Environmental Residency at CCW

Cape Farewell continues its partnership relationship with CCW Graduate School through a three-year climate residency that began in July 2014. We look forward to bringing further scientific and environmental 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

Artwork by David Buckland / Cape Farewell

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 in Universities worldwide including the USA and China. The Cape Farewell project is now in its 15th year and works internationally in 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 programs that will find creative solutions to environmental issues. During 2014–2017, Cape Farewell will continue with our international culture/climate programme that includes: • Artcop21 Climate Festival in partnership with COAL – an exceptional city-wide climate festival and cultural event to be staged in Paris during


COP21 in November 2015. • 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 2015 Zone Arctic expedition to the Russian archipelago of Franz Joseph planned for 2015. • Our Energy Renaissance Think / Do Tanks – interrogating just how we can vision a carbon zero economy, using the Isle of Weight as a test case scenario.

Geneva University of Art & Design

In January 2014, staff from CCW visited the CCC (critical curatorial cross-cultural cybermedia studies) Research-Based Master Programme and Pre-Doctoral Seminar at the Haute Ecole d’Art et de Design (HEAD), Geneva University of Art & Design, to begin developing a collaborative partnership around shared areas of research interest. A common aim of both institutions is to use research in art as a powerful agent of artistic and cultural transformation. In autumn 2014, CCW/UAL and CCC/ HEAD began a joint seminar/workshop


programme on the theme of environment and sustainability. The lead academics for this collaboration in CCW are Neil Cummings, Professor of Fine Art, and David Cross, Reader in Art and Design. Between 10th and 13th November 2014, David and Neil hosted a seminar at Chelsea with staff and students from Geneva, with presentations from Professor Catherine Quéloz (CCC/HEAD), Professor Liliane Schneiter (CCC/ HEAD), and PhD candidates Aurélien Gamboni (CCC/HEAD), Janis Schroeder (CCC/HEAD), Joana de Oliveira (CSM), Manoela Afonso (CCW), Karel Sidney Doing (LCC), and Vanessa Saraceno (CCW). This was reciprocated in March 2015, with a week long research exchange in Geneva, focusing on work towards the ‘Anthropocene Atlas: Geneva’ (TAAG) based on practices of livetracing and mapping, using the methods and collaborative resources of artistic practice to produce new interdisciplinary representations of the Anthropocene. This was followed by further mapping/tracing for the ‘Anthropocene Atlas: London’ as part of the UAL ‘Cultures of Resilence’ programme in March 2015. This programme began to tease out and trace UAL’s financial entanglements, our energy use and providers, our interactions with NGO’s, resilient organisations and communities, our networks of empathy, and our aspirations. Throughout 2015/16, a critical and creative engagement with the theme of Resilience will be a focus of activity at the CCW Graduate School, to help deepen our collaborative relationship with CCC/HEAD through envisioning a cultural and democratic transition to a zero carbon society.

Institute of Contemporary Arts (ICA)

Staff and students from CCW Graduate School and CCC HEAD Geneva at the MayDay Rooms Archives. Photograph: Marsha Bradfield

In 2015/16, CCW Graduate School is continuing its collaboration with the Institute of Contemporary Arts (ICA) to encourage joint projects, enhance the Postgraduate student experience, and develop shared research interests. Our first CCW Graduate School event within the ICA Public Programme was ‘What Work Does the Artwork Do?’ on 4 December 2014, which focused on the



work of Art&Language, who were present at the event, which also included presentations from Bob and Roberta Smith, Elena Crippa, Paul Gladston, Chris Smith, and Jo Melvin. Jo Melvin was also involved, along with CCW staff member Sarah Dobai, in ‘The Copyists’ an ICA symposium in March 2015 that addressed modes of artistic practice such as republication, re-enactment, and the repurposing of existing cultural material. Other speakers were Michael Bracewell, David Campany, and Tom McCarthy. On 5 December 2014, CCW academic staff member Maria Walsh was invited to present a paper at the ICA symposium ‘Realisms and Object Orientations: Art, Politics and the Philosophy of Tristan Garcia’. The event was co-organised by the ICA and the Politics and Fine Art departments of The University of Kent. The ICA also hosted Chelsea College of Arts’ ‘General Theory Forum’ lectures in 2015. These ten lectures were presented under the title ‘Where Theory Belongs’ and led by Dr Stephen Wilson. The ICA was founded in 1946 by a group of artists including Roland Penrose, Peter Watson, and Herbert Read and it continues to support living artists in showing and exploring their work. It has been at the forefront of cultural experimentation 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, whilst 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. In 2015/16, ICA membership is offered to all CCW MA and PhD students, and all staff at CCW. The new partnership between CCW and the ICA will provide opportunities for various types of research and collaboration between both organisations. Some events within the Graduate School Events Programme for 2015/16 will be included in the ICA public programme, as well as Chelsea’s General Theory Forum lectures, and 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.

National Theatre

In 2015 a new collaboration was established between CCW and the National Theatre’s Archive in relation to Jocelyn Herbert’s Archive, which, between 2008–14, was housed at Wimbledon College of Art, where, thanks to the generosity of the Rootstein Hopkins Foundation, it was catalogued and the drawings were digitised. As well as being mined by staff and students for exhibitions and study related to course work, it was used by external researchers and for UAL graduate and doctoral research. Collaborative relationships were established with the University of Stirling, where Lindsay Anderson’s archive is held, the University of Reading in relation to Samuel Beckett’s archive, the V & A, which holds the archive of the English Stage Company (and which currently has several of Jocelyn’s Oresteia masks on exhibit) and with the Archive of Performance in Greek and Roman Drama at the University of Oxford (all this is documented on the Jocelyn Herbert Archive website CCW continues its relationship with Jocelyn’s Archive now that it has moved to the National Theatre, most recently exemplified by Jocelyn Herbert and Samuel Beckett, an exhibition in March 2015 at Wimbledon Space curated by students on the MA Theatre Design and Curating and Collections course, subsequently shown in the National Theatre’s Archive Study room. In June 2015 Walter Asmus gave the Jocelyn Herbert Lecture, The Art of Beckett in the Lyttelton Theatre. He was the fourth speaker in the lecture series, preceded by Richard Eyre, ULTZ and Christopher Hampton. As well as commemorating Jocelyn, the June event celebrated the housing of Jocelyn’s Archive in its new home at the National Theatre. Walter Asmus met Samuel Beckett at the Schiller Theatre in Berlin in 1974 and they went on to collaborate on


renowned productions in Europe and America. Asmus is an apt speaker as Jocelyn Herbert was another of Beckett’s close collaborators, one he described as “my closest friend in England” and they worked together many times. Beckett’s work is also an appropriate bridge linking Herbert with the National Theatre as it was for the National, then at the Old Vic, that she designed Play in 1964, with Robert Stephens, Rosemary Harris and Billie Whitelaw encased in the urns. The new partnership will provide opportunities for various types of research and collaboration between the two organisations.


Launch to celebrate the new partnership between CCW and the National Theatre Archive, February 2015

Erin Lee, National Theatre Achivist writes: National’s history. The National Theatre Archive is delighted to host The catalogue of the Jocelyn Herbert Archive the collection of Jocelyn Herbert, which is available online complements the existing NT Archive collections by offering a unique insight into the world of the The Archive is situated at the NT Studio near theatre designer and the relationships that develop Waterloo and is open to everyone by appointment: during a production. The NT Archive aims to document, preserve and make available the history archive. and continuing activities of the National Theatre. Herbert’s Archive, collected throughout her For more information see long and varied career, is the only archive of a or contact Professor designer that the NT Archive holds and, as such, is Eileen Hogan, CCW Graduate School becoming an important and valuable teaching and learning resource. At the National Theatre, we have a particular desire to archive theatre making Society for Artistic Research Research Catalogue and the as well as the end product of a performance and Journal of Artistic Research Herbert’s Archive fits perfectly with this focus. A part of the collection that I find fascinating The CCW Graduate School has recently become is the correspondence surrounding Herbert’s work a Portal Partner for the Research Catalogue run with the National Theatre. She was heavily by the Society for Artistic Research (SAR) linked to involved with the National Theatre in its early the Journal of Artistic Research (JAR). This new years, during the 1960s and 1970s, and was a member of the Building Committee, which oversaw role for the Graduate School will place it at the heart of developments aimed at enhancing the the construction of the National Theatre on the research environment for arts and design practiceSouthbank, designed by the architect Denys based research across Europe. Lasdun. Herbert’s collection helps us to piece On April 30 and May 1 2015, SAR held its together these early days of the National and catch conference at Chelsea College of Arts. Entitled a glimpse of what it was like to be involved in the ‘Unconditional Love’ the conference explored shaping of the auditoria and the creation of what how caring and attention is expressed in such is now a Grade II listed building. Herbert’s practices as artistic research, open access, auditing, collection augments the administrative material, peer-reviewing and critique, as well as the tug which the NT Archive holds, and provides a more of war between science, magic, and art on the personal perspective to this period in the



issue of love. On Friday 1 May, a panel from UAL centred on how abstract painting could be including Pauline von Mourik Broekman, pursued when this narrative is distrusted, and Stephanie Meece, Malcolm Quinn, and Athanasios the gesture, through the use of technology Velios delivered papers on audit, archives, or otherwise, can be faked or non-assignable. data management, and open access in art and The event took place in Tate Modern’s new design research. collection display, featuring key examples of work The Journal for Artistic Research is an by artists such as Christopher Wool, Amy international, online, Open Access, and peerSillman, Charline von Heyl, and Albert Oehlen. reviewed journal for the identification, publication Dan Sturgis also edited ‘Thinking the Substrate’, and dissemination of artistic research and its the Spring 2015 edition of the CCW journal Bright methodologies, from all arts disciplines. JAR Light, which included articles by Tate Archivist abandons the traditional journal article format Adrian Glew and Pia Gottschaller, painting and offers its contributors a dynamic online canvas conservator at Tate. In December 2014, Elena where text can be woven together with image, audio, Crippa, Curator, Modern and Contemporary and video. The Journal is published by SAR and British Art, Tate Britain, took part in the CCW underpinned by the Research Catalogue (RC) Graduate School event ‘What Work Does the a searchable, documentary database of artistic Artwork Do?’ at the ICA. This symposium brought research. Anyone can compose an exposition and together researchers, members of activist art add it to the RC using the online editor and suitable groups, and members of the general public interested expositions can be submitted to the editorial in the place and role of art’s criticality. On June board for peer-review and publication in JAR. 15, Professor Cate Elwes launched her book Installation and the Moving Image (Wallflower Press) For more information see: at ‘Beyond the Single Screen’, a screening/live expanded cinematic event at Tate Britain. The event was introduced by Cate Elwes and featured the Tate work of Guy Sherwin, Lynn Loo, and Semiconductor. CCW Graduate School continues to strengthen and diversify its relationship with Tate Research. On 20 February 2015, CCW PhD student Kimathi Donkor gave a paper on ‘Andromeda Africana’ at the symposium ‘The Black Subject: Ancient to Modern’ at Tate Britain. This symposium took an interdisciplinary approach, exploring relationships between artists and models, multiracial interwar communities, historical subjects, sexuality, gender, and the work of previously neglected artists. The aim was to take a broad historical sweep, using the Tate collection as a starting point for a discussion on depictions of people of African and Asian decent in British art, tracing a journey from subject to subjectivity. On 8 June 2015, Dan Sturgis, Reader in Painting at CCW, chaired ‘Painting After Technology: Hal Foster and Mark Godfrey in Conversation’ at Tate Modern. The discussion


CCW continues to develop its research partnership 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. On 14 and 15 May 2015, Chelsea College of Arts hosted ‘Victorian Futures: Culture, Democracy and the State on the Road to Olympicopolis’ a major two day conference organised with Professor Bill Sherman, Head of Research at the V&A, and Professor Anne Massey of Middlesex University. Speakers from the V&A included Kieran Long (Senior Curator of Contemporary Architecture, Design and Digital), Christopher Marsden (Senior Archivist), and the V&A Director, Martin Roth. Before the


conference, Kieran Long (Senior Curator of Contemporary Architecture, Design and Digital), said: “ ‘Victorian Futures’ is vital for us right now, at a time when the whole notion of the public realm is at stake and under pressure, to think again about the lessons our Victorian forebears can teach us about education and civic pride in the context of the complexity of the digitally enabled 21st century.” In 2014/15, Sigune Hamann, Reader in Art and Media Practice at CCW, understook a residency in the Digital Programmes Department (Learning and Interpretation) at the V&A, funded through an Entrepreneur-in-Residence scheme by Creative Works London. Hamann was working with curators at East Asian and Theatre and Performance Departments. As part of her residency at the V&A, Hamann took photographic film-strips of visitors in the galleries, exposed in one continuous rewinding process using an analogue SLR camera. Hamann said ‘I focus on the moment when a common goal directs crowds in a common movement, physical and psychological.’


In 2014/15, Dr Linda Sandino, CCW/V&A Senior Research Fellow, and Zoe Hendon, Head of Museum Collections, Museum of Domestic Design and Architecture (MoDA), took part in ‘Inspiration Examined’ that studies how inspiration gained through engagement with museum collections is articulated in design practice. The project was supported by Share Academy, a partnership project between University College London, University of the Arts London, and London Museums Group, which aims to develop and foster relationships between specialist London museums and academics. On 23 May 2015, Professor Carol Tulloch was invited to chair the panel ‘Style and Content’ at the ‘Staying Power’ conference, a two-day event in co-organised by the V&A and the Black Cultural Archives in connection with the exhibition of the same name. On 10th March, Carol Tulloch also gave a work-in-progress presentation on her work on ‘Rock Against Racism’ at the V&A as part the final event of the AHRC funded ‘Subcultures’ Network.

Sigune Hamann, film-strip (V&A, Raphael Cartoons Gallery, Friday Late) 2015


Running Headline





As well as informing research activity across particular subject areas in CCW, our journals provide a means to develop research skills and research careers for students and staff. As part of UAL’s first ‘Research Fortnight’ in 2014/15, we asked members of our student journal JAWS (Journal of Arts Writing by Students), published by Intellect, to lead a discussion of the value of academic journals to an art and design monotechnic university such as UAL. At CCW, we host a variety of journals, ranging from JAWS, which supports writing by students, and Bright Light that focuses on staff research, to more established journals such as Journal of Visual Arts Practice (JVAP) and Moving Image Review and Art Journal (MIRAJ), as well as our new journal Theatre and Performance Design, edited by CCW Professor Jane Collins and Professor Arnold Aronson of Columbia University USA. Theatre and Performance Design was launched at the Prague Quadrennial of Performance Design and Space 2015.

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 and Janine Marchessault, with rising talents including Erika Balsom, Eu Jin Chua and Colin Perry. The advisory board is made up of leading academics from across the globe, for example, Laura Mulvey, Thomas Elsaesser, Catherine Russell and David E. James. All are united in a commitment to expanding the discursive field around a discipline that 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 incursions into all areas of life in the industrialised world. The contemporary Western imagination is now in constant dialogue with the moving image – internalised, memorialised, and experienced directly on a daily basis. MIRAJ is committed to mapping, debating and theorising the extraordinary growth of the moving image in art that has taken place since the late 1990s. The field of artists’ film, video and digital media straddles different disciplinary territories. It shifts between scholarship and practice in the fine art tradition, and the culture of mainstream film and media. Discernible trends in recent artists’ practice have drawn in scholars from other disciplines. Anthropologists and earth scientists 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, and cognitive scientists are beginning to incorporate avant-garde practices in their studies of spectatorship. Meanwhile, some of the best commentary on artists’ film and video, including on-the-ground knowledge of current practice, has come from outside the academy,

Moving Image Review & Art Journal (cover image: Derek Jarman, Studio Bankside (1972), colour & b/w Super 8. Courtesy & © LUMA Foundation)


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 phenomenon in all its forms – celluloid, videotape, and digital – but especially in relation to the fine art context. The journal is made up of scholarly articles, feature articles, review articles and polemical essays as well as round-table debates and interviews with individual practitioners. MIRAJ addresses a broad readership that includes an interested public, students, artists, curators, as well as scholars. The journal prides itself on its ability to communicate to a range of readers without compromising intellectual rigour and scholarship.,id=207

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


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 AmritGangar, National Museum of Indian Cinema, Mumbai David E. James, University of Southern California, USA Laura Mulvey, Birkbeck College, London, UK Mark Nash, Royal College of Art, London Michele Pierson, King’s College, London, UK Pratap Rughani, London College of Communications, UAL, UK Catherine Russell, Concordia University, Canada Tom Sherman, Syracuse University, USA Lisa Steele, University of Toronto, Canada

JAWS Journal Editor: Francesca Peschier, CCW PhD candidate

JAWS is the Journal of Arts Writing by Students. The first journal of its kind in the UK, it is written, peer reviewed and edited in its entirety by current students and first year graduates. The journal was started as an offshoot of the MRes Arts Practice course at CCW Graduate School in 2012. After three issues as a UAL based publication, they secured a contract with Intellect publishing. Their first international professional publication was in October 2014. Publication in the JAWS journal provides University students with valuable experience of writing for an academic journal (an essential

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 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 Erika Balsom, King’s College, London, UK Mark Bartlett, Open University, UK Pryle Behrman, Writtle School of Design, University of Essex, UK Suzanne Buchan, University of the Creative Arts, UK Ian Christie, Birkbeck, University of London, UK Stuart Comer, Museum of Modern Art, New York Maeve Connolly, Dun Laoghaire Institute of Art, Design and Technology, Ireland David Curtis, Central Saint Martins, UAL, UK Journal of Arts Writing by Students (cover image)



component of PhD study or an academic career) as well as circulation and recognition of their research. It is not only an opportunity for students to take their academic writing to the next level but also to share outcomes and findings across the University. JAWS believes strongly in research as a living pragmatic entity – it should not languish unread in a file bending bedroom shelves, it is only through sharing and discussion that new ideas can be allowed to develop and grow. JAWS is made possible through support from SEE and the Students’ Union.

JVAP Editor: CCW Visiting Fellow, Chris Smith.

The Journal of Visual Arts 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.

Journal of Visual Arts Practice (cover image)

The journal works within a frame that recognises both the expanding practices that constitute research in the fine and visual arts, as well as the increasing cross and interdisciplinary nature of creative practices in the field. JVAP encourages contributions relating to scholarly, pure, developmental, applied, and pedagogical research. It encourages 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 across 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. The Journal of Visual Arts Practice is a referred journal supported by the National Association for Fine Art Education.

Bright Light

The Bright Light series focuses on the latest debates in the arts and design, and provides a way of seeing how practitioners are taking fresh perspectives on key questions facing designers, fine artists, lens-based media practitioners, curators, archivists, and critical theorists. The Bright Light series is edited by Dr David Dibosa, CCW Senior Research Fellow and Course Leader of the MA in Curating and Collections at Chelsea, and each issue is guest edited by a member of CCW staff. In each publication, themes such as the environment and technology, as well as sociallyengaged practices and identity, are looked at through the lens of current arts and design practice. The first issue, Implicit Geographies, launched in summer 2014 and focused on a range of collections; private or public, professional or amateur, and looked at the relations between places that objects suggest. The second issue, Thinking the Substrate, edited by Dr Daniel Sturgis, was dedicated to the idea of the substrate. The publication stemmed from a series of three symposia hosted by CCW Graduate School and held in the Green Room at



Daniel Sturgis (CCW), Pia Gottschaller (Courtauld Institute of Art), and Jo Melvin (CCW). 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/Ellie Pitkin – Editorial Assistant Prof. Malcolm Quinn, Bright Light Editorial Board Chair, 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 2: Thinking the Substrate (cover image)

Chelsea College of Arts. Over the spring term in 2014, Professor Stephen Farthing, Professor Chris Wainwright, and Dr Daniel Sturgis invited artists, academics, and students from across the University, together with outside guests, to think about what a substrate could be and if the substrate might be an interesting way to speak cross-disciplinarily about practice. Thinking the Substrate presents some of the discoveries from these symposia. Sturgis, together with Dibosa, asked participants from each of the sessions to either develop their papers or re-present them in a written form; not everyone who contributed to the sessions or discussions were included, which in some sense is a pity, but space was limited and there was also a desire to show divergent approaches. The one thing that everyone who attended the symposia discovered, as the reader does, is what a slippery fish the idea of substrate is. How can it mean very different things to different people – but remarkably within that breadth the substrate somehow still retains a base that links its various interpretations. It is this base that is so intriguing. Thinking the Substrate features articles by Simon Morley (Dankook University), Neil Cummings (CCW), Adrian Glew (Tate Britain), Richard Layzell (WCA),

Theatre & Performance Design (TPD) Co-Editors: Arnold Aronson, Professor, Columbia University School of the Arts Jane Collins, Professor of Theatre and Performance, CCW (UAL)

Theatre & Performance Design is an international peer-reviewed journal of scenography. Publishing innovative artistic practice alongside theoretical research, the journal critically evaluates the effect of scenography on the aesthetics and politics of performance, and facilitates dialogue amongst practitioners, scholars, and audience. The journal will publish articles on all aspects of design for performance in the fields of: • theatre • opera • dance • music theatre • site-specific, immersive and virtual theatres • spatial design and architecture In addition to peer-reviewed articles and visual essays the journal engages 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.

MA & Graduate Diplomas


MA & Graduate Diplomas

CCW MA Courses MA Conservation Camberwell College of Arts Course Leader: Jocelyn Cuming Study mode: Extended full time MA Curating and Collections Chelsea College of Arts Course Leader: Dr David Dibosa Study Mode: Full time MA Digital Theatre Wimbledon College of Arts Course Leader: Douglas O’Connell Study Mode: Full time MA Drawing Wimbledon College of Arts Course Leader: Tania Kovats Study mode: Full time MA Fine Art Chelsea College of Arts Course Leader: Brian Chalkley Study modes: Full time and part time   MFA Fine Art Wimbledon College of Arts Course Leader: Dr Edwina Fitzpatrick Study mode: Extended full time MA Graphic Design Communication Chelsea College of Arts Course Leader: Sadhna Jain Study mode: Full time MA Interior & Spatial Design Chelsea College of Arts Course Leader: Dr Ken Wilder Study mode: Full time MA Painting Wimbledon College of Arts Course Leader: tbc Study mode: Full Time

MA Textile Design Chelsea College of Arts Course Leader: Lorna Bircham   Study mode: Full Time MA Theatre Design Wimbledon College of Arts Course Leader: TBC Study mode: Full time MA Visual Arts: Book Arts Camberwell College of Arts Course Leader: Susan Johanknecht Study Modes: Extended full time  MA Visual Arts: Designer Maker Camberwell College of Arts Course Leader: Dr Maiko Tsutsumi   Study mode: Extended full time MA Visual Arts: Fine Art Digital Camberwell College of Arts Course Leader: Jonathan Kearney   Study modes: Extended full time and online MA Visual Arts: Illustration Camberwell College of Arts Course Leader: Janet Woolley Study modes: Extended full time   MA Visual Arts: Printmaking Camberwell College of Arts Course Leader: Johanna Love Study modes: Extended full time Graduate Diploma Interior Design Chelsea College of Arts Course Leader: Josef Huber Study Mode: Full time

MA & Graduate Diplomas

CCW Graduate Dipoma Courses Graduate Diploma Fine Art Chelsea College of Arts Course Leader: Dr Katrine Hjelde Study Mode: Full time

Coming Soon in September 2016 Graduate Diploma Graphic Design Chelsea College of Arts Study Mode: Full time


Research degree


Research degree

Research Study at CCW: MPhil/PhD

Entry requirements

We consider a Masters degree in an appropriate Through the combined work of the many subject to be particularly valuable in preparing talented and dedicated Professors, Readers, and candidates for a research degree. However the Researchers and the subject expertise of our staff, minimum requirement is an upper second-class we are able to offer an exciting and rigorous Honours degree or equivalent academic experience for our research degree students. professional qualification. Our research activities are grounded in the portfolio of art and design subjects represented by our taught Masters programmes. They offer new and challenging ways of thinking about how specific disciplines can share common concerns and questions. Issues surrounding the practice, theoretical and historical contexts of Fine Art, Design, Conservation and Theatre are developed and interrogated through a focused research approach of contemporary relevance. We are particularly interested in PhD research proposals relating to the following areas: • Practice-led and textual research on design in its social contexts. • Practice-led and textual research on archives and collections. • Research into sustainability and resilience in art and design practice. • Research within the field of fine art painting. • Research on the moving image in the context of art and design practice. • Interdisciplinary research on drawing. • Investigations of the past and future of art and design institutions, and radical and experimental pedagogy in art and design.

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 practice based 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 Forms, Deadlines and Information About Studentships:

CCW Research Degree Supervisors

Our PhD students have access to a lively programme of seminars, lecturers, and events at CCW and across UAL. CCW also runs a Graduate Teaching Scheme that offers an introduction to teaching course 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 from their research and enhance research awareness in the taught courses.

The following is a list of CCW academic staff currently engaged in research degree supervision. This list is updated on an annual basis in relation to the matching of supervisory expertise to enrolled research students. • Armstrong, Esther  Scenography and the presentation of national identity through design • Asbury, Michael  Art history and theory and modernism and contemporary art in Brazil • Bradfield, Marsha  Authorship, subjectivities, genre studies, metanarratives, art research, collaborative cultural production, the ‘work of

Research degree

art’ in relation to ‘the art of work’ • Beech David  Contemporary art practices and debates, the public sphere and politically engaged practices • Blacklock, George  Fine art, painting and abstract pictorial space • Boyce, Sonia  Art as social practice, fine art practice and drawing • Chesher, Andrew  Fine art, documentary practice, avant-garde music, structures and practices • Coldwell, Paul  Printmaking, sculpture, digital art, installation, memory and the work of Morandi • Collins, Jane  Performance, identity, theatre design, scenography • Cross, David  Fine art, context specific sculptural installation and photography • Cummings, Neil  Critical practice, contemporary creative practice, art and social process, critical practice and digital technology • Dawson, Elizabeth  Costume interpretation and dress history • Dennis, Jeffrey  Fine art, painting, drawing, meaning and process in contemporary painting • Dibosa, David  Spectatorship, exhibitions, museums and curating, migration cultures • Dobai, Sarah  Photography, film, video, narrative, portraiture and billboards • Donszelmann, Bernice  Fine art theory and practice, architectural space and wall installation • Earley, Rebecca  Eco-design, fashion, textiles, new textile technologies and contemporary craft practice • Elwes, Catherine  Artists’ film and video, feminist art, wartime SAS • Fairnington, Mark  Fine art painting • Farthing, Stephen  Drawing, pedagogy and cross disciplinarity • fitzPatrick, Edwina  Sited artwork and mutable sculpture, living environment, mutability and change • Goodwin, Paul  History and theory of art and curation


• Hamann, Sigune  The creative potential of old and new media, photography, video, sound and performative elements, changing relationships of stillness and movement, narrative structures, direct address and identity in urban and media environments • Hogan, Eileen  Fine Art, painting, portraits, book arts, archives, Jocelyn Herbert • Johannknecht, Susan  Book Arts, the development and production of artists’ books under the imprint of Gefn Press • Kikuchi, Yuko  Art, design and craft history in Britain, Japan and Taiwan. Modernity and national identity in non-western visual cultures • Kovats, Tania  Drawing, mapping landscapes, sculpture, geological forces • Melvin, Jo  Archives, archive curation and exhibition, interviews, oral histories, conceptual art, artists writing, artists’ books, magazine as exhibition site • Murdoch, Sadie  Fine art, the photographic archive, photography, drawing, architectural models and video • O’Riley, Tim  Fine Art, optical imaging, computer technology • Osbourne, Richard  Philosophy and cultural studies, art theory • Pavelka, Michael  Theatre design, scenography • Pickwoad, Nicholas  Book and library conservation, devising new techniques and methods to document material • 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, practice-based research • Smith, Dan  Fine art theory, notions of archive, memory and the utopian impulse within cultural forms • Sturgis, Dan  Contemporary painting, abstract painting, fine art, curating • Throp, Mo  Fine art, curating, teacher identity, subjectivity, feminism, psychoanalysis


Research degree

• 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, the concept of ethics in digital conservation and preservation • Wainwright, Chris  Photography, fine art, light forms, video, curating, climate change and cultural responses to the environment • Walsh, Maria  Artist’s film and video, installation, film narrative and theory, spectatorship, phenomenology, performative writing, subjectivity and feminisms • Wilder, Ken  Projective space, installation art, video sculpture, spatial practice, philosophy of art

All registered PhD students

• Cheng, Fang-yu  Architecture as Performance: the Trace of Performance within the Ambiguities of Spatial Sequence; Wilder, Ken • Cheung, Stephanie  Participation in Contemporary Chinese Art; Kikuchi, Yuko • Child, Emmeline  Investigating closed loop garment manufacturing for large-scale production through design; Goldsworthy, Kate • Clarke, Denise  Global Re-writing and Contemporary Art Curation in the Geopolitical ‘Middle East'; Dibosa, David • Douglas, Lorrice  ‘Talking by Lightning: Surface and Illumination in Constructed Space’; O’Riley, Tim • Evans, Alice  The Dissociated Image in Contemporary Photography; Beech, David • Gadie, Robert  Articulating Epistemologies Inherent to Practice-Based Fine Art Doctoral Research; Scrivener, Stephen • Georgiou, Panagiota (Penny)  The animation of filmic space by Alfred Hitchcock through the mixture of architectural and scenographic components; TBC • Gomez-Mejia, Lucia  The Rhythms of Remembering and Forgetting: A Shifting Relationship within Art Practice; Sandino, Linda

• Grau Vidal, Altea  Unmasking conventions: re-evaluating the notion 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 • Johansson, Amanda  Institutional Critique as Practice-as-Research in Arts Education; Beech, David • Kheirkhah, Maria  ‘Scheherazade Emerging (2000–2012); Reconstructing the Oriental Female Other in Contemporary Western Visual Culture’; Newman, Hayley • Lander, James  JK: Did you produce any art today? CF: No, I would prefer not to. James Lander and those who wish to remain anonymous. Melvin, Jo • 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  The antagonistic struggle of the art object against the space in which it is installed; Beech, David • 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 • Mazzucchelli, Cristiana  Tropical modernism: Reworking modernity from the margins; Asbury, Michael • Murray, Jennifer  Manuscript fragments and the bindings from which they were removed. Pickwoad, Nicholas • Namazi, Mohammad Hossein  Temporal Artworks in Contemporary Art and their Possibilities. Scrivener, Stephen • Peschier, Francesca  Theatre Design in Regional Theatre: Realising the Visual at The Liverpool Everyman and Playhouse 2003 – 2015; Collins, Jane • Saraceno, Vanessa  Sustainability. A New Sensitivity in Contemporary Art; Cross, David

Research degree

• Schwager, 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 • Spindler, Stephanie  A Phenomenological Identity: the State of Being a Woman; Throp, Mo • Theodoraki, Maria  Custodianship Ethics and Institutional Display of Art; Melvin, Jo • Vickers, Anna  Revealing and concealing in post 1970’s painting; Osborne, Richard • Y’Barbo, Joshua  Site-specific Intervention within Art Education Institutions; Beech, David


All confirmed PhD students

• • Afonso, Manoela dos Anjos  Language and place in the life of Brazilian women living in London: an artistic approach to life writing; Cross, David • Akcha, 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 • Albertoni, Fernanda  Reordering images and constructing memory: three artists-archivists in Brazil; Asbury, Michael • 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 • Baker, Daniel  Technologies of Subjectivity: The Museum Exhibition, the 18th Century South Pacific and the Production of the Modern Self; Cummings, Neil • Burford, Sam  Is using 3D rendering Software Photography?; Coldwell, Paul • Carden, Jessica  Contemporary Visual Representations of the Non-White Body in Arctic Space: British Colonial Constructions

of the ‘Heart of Whiteness’ and the BlackWhite 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 Limitations; Cross, David de Menezes, Caroline  Smoke Sculptures: How to map the “aesthetical experience” of post-Duchampian art?; Asbury, Michael Donkor, Kimathi Kewesi  Africana Unmasked: Fugitive Signs of Africa in Tate’s collection of British Art; Dibosa, David Donoghue, Mark  The Scottish and Japanese Landscapes of Turner, Hokusai and Hiroshige from the Perspective of Deleuze; Coldwell, Paul 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 Gialdini, Anna  ‘Alla Greca’. A Historical, Material and Cultural Analysis of Greek-Style Bookbindings in Renaissance Venice; Pickwoad, Nicholas Goodyear, Alison  Privileged, unique and temporary: interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice; Quinn, Malcolm Gotti, Sofia  Popular Politics: Pop Art Practices in Argentina, Brazil and Peru; Asbury, Michael


Research degree

• Gray, Victoria  “Towards a Kinesthetic Universe: Mechanisms of affective perception and the politics of affective registers in performance and writing”; Collins, Jane • Guarino-Huet, Marianne  Knowledge exchange and artistic practices with a pedagogical dimension: a vector for change; Cross, David • 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 • Helyar-Cardwell,Thomas  Still Life & Death Metal: Painting the Battle Jacket; Fairnington, Mark • Hetayothin, Chanya  ‘Thai Shadow Puppets: An Alternative Direction for Animation’; Faure-Walker, James • Hodgson-Teall, Angela  Drawing on the Nature of Empathy; Quinn, Malcolm • Hopkins, Sam  The Memory of the Crowd: New Media representations of Kenyan Identities; Cummings, Neil • Jump, Sophie  The Theatre Designs of Motley and Jocelyn Herbert, 1935–65; Collins, Jane • Kambalu, Samson  13th Room: The General Economy in Meschac Gaba’s Museum of Contemporary African Art; Cummings, Neil • Konopka, Jennie  Why did Constantin Brancusi organise his sculptural ensemble, the Table of Science, the Gate of the Kiss and the Endless Column as a processional route across the town of Tirgu Jiu, Romania, in 1938?; Quinn, Malcolm • Koskentola, Kristiina  “Interconnected InBetween: On the Dynamics of Abjections, Animism, Temporality and Location in Art Practice”; Throp, Mo • Long, Catherine  A feminist dialogue with the camera; progressing strategies to counter objectification and negative representations of women.; Elwes, Catherine • Lopez de la Torre, Ana Laura  Living together: The artist as a neighbour; Scrivener, Stephen

• Lydiat, Anne  If the ship is a paradigm of a Heterotopia, how can gendered art practices inform discourses in relation to this transgressive space?; Quinn, Malcolm • Manchester, Elizabeth  From the inside out: Models of language from the vagina; Baddeley, Oriana • McDonnell, Amy  Why do we Associate?: Artists’ Group Work between Cuba and the UK; Asbury, Michaels • Megaw, Andrew 19th Century British Photographically-Illustrated Books, from the 1840s to the mid-1870s, considered as Historical Artefacts; Pickwoad, Nicholas • Moloney, Donal  Slippage between the Picture Plane and the Picture Surface: An Analysis of how Specular Highlights, the Gaze and Proximal Spaces Connect and Function as a Multifaceted Combination Scopic Regimes in Representational Painting; Sturgis, Daniel • Nunez Adaid, German Alfonso  The Emergence of Digital Art; Asbury, Michael • Pelling, Kate  Editing Verbal Behaviour in Artists’ Direct Address to Camera; Newman, Hayley • Phelps, Sharon Kim  Agnes Martin: Painting as Making and its Relation to Contemporary Practice; Dennis, Jeffrey • Rabourdin, Caroline  Place, Duality, and the ‘Situatedness’ of Language; Donszelmann, Bernice • Rapti, Stavroula  Chelating agents for removing iron corrosion products from dry composite objects of Cultural Heritage; Velios, Athanasios • Reid, Imogen  Between the Viewer and the Screen; Walsh, Maria • Rowe, June  Sculpting Beauty; A Cultural Analysis of Mannequin Design and the Shaping of Fashionable Feminine Silhouettes; Hogan, Eileen • Scott-Cumming, Patricia  Socialising the Archive: Art and the Archival Encounters; Hogan, Eileen • Threapleton, James  The Corroded Surface: Portrait of the Sublime; Sturgis, Dan

Research degree

• True, Deborah  Located Narrative: An interdisciplinary ‘located narrative process’ that explores and develops the methodology used to inform site-specific contemporary practice; Quinn, Malcolm • Vuletich, Clara  Social Textiles: Towards Socially-Engaged Practice for Textile and Fashion Designers; Earley, Rebecca • Webb, Charlotte  Towards an Extra-Subjective 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 • Yale, Madeline  Import/Export: The Rise of Contemporary Photography from the Middle East; Baddeley, Oriana • Yamamoto, Hiroki  Aesthetics for Decolonisation: Socially Engaged Art beyond the Coloniser/Colonised Binary and Postcolonial Issues of ‘Adjacent’ Others in East Asia; Kikuchi, Yuko


• •

• Completed research degree students 2014/15

• Andersdotter, Sara  PhD Choking on the Madeleine: Encounters and Alternative Approaches to Memory in Contemporary Art Practice; Ingham, Mark • Arango Velasquez, Maria  PhD Acts of Endurance: A Creative Transformation in Times of Struggle in Contemporary Colombian Memory and Its Diaspora; Baddeley, Oriana • Ballie, Jennifer  PhD e-Co-Textile Design: How can textile design and making, combined with social media tools, achieve a more sustainable fast fashion future?; Earley, Becky • Brew, Angie  PhD Learning to draw: an active perceptual approach to observational drawing synchronising the eye and hand in time and space; Osborne, Richard • Campagnolo, Alberto  PhD Transforming structured descriptions to visual representations.

An automated visualization of historical bookbinding structures; Velios, Athanasis Desvoignes, Olivier  PhD Blackboards Were Turned into Tables… . Questioning ‘horizontality’ in collaborative pedagogical art projects; Cross, David Kassianidou, Marina  In-Between Marks and Surfaces: approaching from the feminine; Dennis, Jeffrey Montoya, Marcela  PhD Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicanness; Baddeley, Oriana Mrdalj, Natasha  MPhil In Search of Home: A Serbian Identity, the Art of Exile and the Representation of Otherness; Watanabe, Toshio Ricketts, Michael  PhD Encounters & Spatial Controversies; Cummings, Neil Tan, Bridget  PhD Gestures and Acclamations: Some Assembly Required Contextualising Curating and Exhibition Practices in Southeast Asia for Singapore, Indonesia and Hong Kong at the Venice Biennale; Quinn, Malcolm Tremlett, Sarah  Mphil Re:Turning – From Graphic Verse to Digital Poetics; Throp, Mo


Research degree

Profile: Kimathi Donkor PhD Experience at CCW

respect and understanding I received – the encouragement to share my skills and experience with the academy and to pursue my I started my doctoral studies with TrAIN at interests beyond it. I arrived as a practicing artist Chelsea after completing a Masters Degree in seeking greater insight into my chosen field of Fine Art at Camberwell College of Arts. In the endeavour, and so, I regarded my supervisors previous six years, I’d created an emerging with a certain humility, because they were my practice as a London-based, contemporary artist. guides. Inevitably, that has the potential to be I wanted the PhD to enhance my creative quite a delicate relationship, but I think that my practice and ideas through a more intellectually trust has been well rewarded. searching and rigorous methodology. Not that I’ve had many, memorable moments, but my work was lacking in research or creativity – on being awarded a certificate as a ‘Highly the contrary, it was research intensive and Commended’ teacher for my work on CCW’s expansive – but my positive experience of the MA Graduate Teaching Assistant programme was showed I had the potential to extend my special – just being nominated was an honour. capabilities much further, given the right context. Sharing my research with postgrad and I chose CCW because of its open-minded undergraduate students at Chelsea, Camberwell approach to creativity, the excellent reputation of and Wimbledon has been tremendously its constituent, campus colleges, and the challenging and enjoyable. academically progressive learning environment After completion I’ve several projects in created by its teaching staff and facilities. hand: creating, exhibiting, writing and teaching – One of the most important elements of the and I’m looking forward to embracing them all course was the sense of professional support, with gusto!

The Venice mechanism. Kimathi Donkor, oil and acrylic paints, canvas, wood, staples; 100 × 80cm, 2015

Research degree

Profile: Mike Ricketts PhD alumni


territory ‘in the middle of things’ (Bruno Latour). I would develop new projects through encounters with estate agents, urban planners, prison officers, When I began my part-time PhD in 2007, it residents… was a happy return to Chelsea for me, having It wasn’t long before I’d had an exhibition completed a BA in Fine Art here between 1993 padlocked by the C.E.O. of an urban regeneration and 1996. As a lecturer in contemporary art history quango (Reverse Consultation (Old New Town), as well as an artist and writer, I was keen to use Harlow, 2009) and was jostling with protesters the PhD as a way of focusing my activities, and government barristers outside the opening significantly developing my core interests, and of a Public Inquiry (Cushion Distribution (Public boosting the ambition of my practice. Inquiry), Crystal Palace, 2009). This PhD certainly Chelsea’s PhD programme offered a more wouldn’t be dull. specific opportunity too: the chance to work Highlights included supervisions featuring with Professor Neil Cummings, a truly inspiring challenging dialogues and new discoveries; my artist and supervisor. Neil helped me to corral involvement with Critical Practice as a participant an exciting supervisory team: filmmaker Andrew in Parade; and research seminars, especially The Chesher (Chelsea) and geographer and writer Practice Exchange, which saw the first manifestation David Pinder (Queen Mary, University of London). of The Vessel, a work that subsequently became I was determined to avoid making art an itinerant cliff-top performance and a film. works that seemed academic, to maintain a spirit I made several exhibitions and independent of openness, and even a sense of humour. That projects during my PhD studies, presented at said, I was interested in a serious subject: spatial three conferences, and shared some of my research controversies. with BA students at Chelsea through teaching My work explores one aspect of what theory seminars. curator Okwei Enwezor has called our ‘intense The whole experience was topped off with proximity’ – the competing claims constantly a VIVA exhibition and a rigorous-yet-valuable made over space by individuals, authorities and examination courtesy of Liza Fior of muf architects groups. Moreover, I was keen to explore this fraught and Angus Cameron of Goldin+Senneby.

Cushion Distribution (Public Inquiry), Crystal Palace, 2009

Visiting Professors and Fellows


Visiting Professors and Fellows

Visiting Professor Professor David Bailey International Curators Forum

Mark Davy Futurecity

CCW Visiting Fellow Mark Davy, founder of the public arts organisation ‘Futurecity’, gave a talk CCW Visiting Professor David Bailey, founder at Chelsea College of Arts in May 2014 on the new and Director of the International Curators Forum, Slipstream installation at Heathrow terminal 2, is currently developing a three year project that created by artist Richard Wilson and curated by addresses the issue of ‘Curating the Diaspora’ Davy. Slipstream is an ambitious artwork inspired along with UK partners the V&A and International by the world of aviation, combining precision Curators Forum, and international partners engineering with specialized UK craftsmanship, from South Korea, Barbados, Brazil, and Sharjah which at 70 metres is one the longest permanent Art Foundation. Bailey has also been working with sculptures in Europe. Sharjah Art Foundation to develop a partnership with UAL, dedicated to the initiation of a number Chris Smith of field research initiatives addressing institutional Writing for Journals Editor Journal of Visual Arts Practice formation, exhibitions, and artistic production. Bailey is also developing a CCW Graduate School In 2013/14 Chris Smith, founding and current international symposium ‘On Interpretation’ to editor of Journal of Visual Arts Practice, became be held at Chelsea in November 2015. a CCW Visiting Fellow. Journal of Visual Arts Practice, which is now hosted by CCW, is an Visiting Fellows international peer-reviewed journal in which discussions of the continually evolving relations David Buckland of fine art practice and fine art education can Cape Farwell be channeled, analysed and disseminated. In June 2014, Chris took part in a panel discussion David Buckland, a Visiting Fellow at CCW, is also as part of a CCW staff development workshop the Director of ‘Cape Farewell’, an international on Writing for Journal, and a subsequent panel not-for-profit programme dedicated to developing on journals organised by the student-led journal cultural responses to climate change. In 1 July 2014, JAWS as part of UAL's research fortnight. Chris Cape Farewell began a residency in the Graduate also led a Graduate School event with Jo Melvin School at Chelsea College of Arts, working alongside at the ICA on Art & Criticality. Graduate School staff. The residency is planned to last for three years. David presented as part of a CCW event on Resilience in January 2015. David and Cape Farewell will have significant involvement in Graduate school activities in 2015/16 during our year of resilience.

Visiting Professors and Fellows


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


In November 2013, UAL appointed 12 University Chairs to its Professoriate. This is a three-year project supported by the Specialist Institutions Fund. The Chairs work with students and staff on academic activities outside the normal curriculum and disciplines of the university and they also represent UAL in the media. To date, the Chairs have contributed high profile public lectures and exhibitions, master-classes, workshops, residencies, trips and exclusive performances. List of Professors here: • Professor Nick Bell, Chair of Communication Design • Professor Sonia Boyce, Chair of Black Art and Design • Professor Paul Goodwin, Chair of Black Art and Design • Professor Fred Deakin, Chair of Interactive Digital Art

• Professor Dominic Janes, Chair of Cultural and Visual Studies • Professor Isaac Julien, Chair of Global Art • Professor Ben Kelly, Chair of Interior & Spatial Design • Professor Rob Kesseler, Chair of Arts, Design and Science • Professor Scott King, Chair of Visual Communication • Professor Ezio Manzini, Chair of Design for Social Innovation • Professor Lucy Orta, Chair of Art in the Environment • Professor David Toop, Chair of Audio, Culture and Improvisation For more information visit:




Paul Coldwell

A recent output  Material Things; Sculptures &

Biography  Paul Coldwell is a practising artist

Prints 13 March–7 May 2015–05–05 Gallery II, University of Bradford.

and researcher. His art practice includes prints, book works, sculptures and installations. He has Curated by Amy Charlesworth, this exhibition exhibited widely and his work is included in was the first to focus on the relationship between numerous public collections, including Tate, my sculptures and prints and drew upon work Victoria and Albert Museum (V&A), the British made over almost two decades. A fully illustrated Museum and the Arts Council of England. He catalogue accompanied the exhibition with a has curated a number of exhibitions, most substantial essay by Anna Moszynka, which recently, The Artists Folio as a site of Inquiry, identified recurring themes of anxiety and conflict, at Cartwright Hall, Bradford 2014 and Morandi’s beginning with the seminal works With the Legacy; Influences On British Art at the Estorick Melting of the Snows and Abandoned Landscape. Collection in London, accompanied by a book The exhibition featured works, which were made published by Philip Wilson 2006. In 2010 he for specific installations at Kettle’s Yard, Scott Polar published a major survey of printmaking, Research Institute and the Freud museum and Printmaking: a Contemporary Perspective (Black tested them out in the more neural space of the Dog Publishers) and was key note speaker at ‘white cube’. The exhibition also included a new Impact 7 International Printmaking Conference folio of prints, Passing Thoughts, commissioned in Melbourne 2011. He was appointed to the by Gallery II, which was made on a residency editorial board of the international journal Print at OBS Tavira, Portugal in 2014. In recognition of Quarterly in 2009, has been on the advisory board my long standing relationship with Bradford, for the journal Art in Print since 2011 and is an through the Biennial, Hybrida exhibitions and the elected member of AICA. In 2013 he was the Artists Folio exhibition which I curated for subject of a major survey exhibition Paul Coldwell: Cartwright Hall 2014 (Arts on Campus in partnership A Layered Practice staged at the Universities of with Bradford Museums and Galleries), staged Kent and Greenwich and in 2015, Material Things; a discussion event at Cartwright Hall, Printmaking Sculptures & Prints, a solo exhibition at Gallery II, in Changing Contexts. As a result I have been University of Bradford. invited as a judge at the forthcoming Bradford open exhibition. I have also been invited to give a talk about the work in the exhibition at the Research statement  My research is focused New York Foundation of the Arts, in New York in on a practice-based approach and located within May 2015. fine art. Through printmaking, sculpture, installation, and writing, I explore issues around Selected exhibitons  2015 Material Things Gallery II, University of absence and loss, with ideas crossing between Bradford media. A recurring question for me is how new 2014 Impress-Printmaking expanded in technologies impact on previous processes, in contemporary Art Courtauld Gallery, London particular within printmaking; and how digital 2014 Charms & other anxious objects. London: technologies can inform and rejuvenate older Freud Museum technologies, such as etching and screen-print. 2014 Printed Matter. New Zealand: Art at In addition, through my engagement with Wharepuke objects, I have been drawn to archives including 2014 Against Nature. London: Camberwell The Freud Museum, Kettle’s Yard and the College of Arts Scott Polar Research Institute as starting points 2014 Current. San Francisco: AAU Cannery for sustained investigation. 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  2015 Material Things. Gallery II University Of Bradford 2014 ‘Objects as conduits for memory’. Bright Light 1 2014 ‘The role od drawing in the work of Charlotte Hodes’. JVAP. vol. 13, issue 2, June 2014 2014 ‘Objects of our Time’ (Prints of Michael Craig-Martin). Printmaking Today, May 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. Bradford: Catalogue Cartwright Hall 2014 ‘The Printed Image: a space for writing and drawing’. In: Farthing, S. & McKenzie, J. The Drawn World. New York and London: Studio International and the Studio Trust 2013 New & Old Rechnologies – Paul Coldwell & Paul Laidler in conversation. Brazil: Porto Arte 32 2013 ‘Honore Daumier & Paula Rego; Graphic Work’. In: Paula Rego/Honore Daumier; Scandal, gossip and other stories. Cascai, 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 | talks  2015 Material things. New York Foundation for the Arts-New York


2015 SNAP3 International Print Symposium. Keynote Kloster Bentlage/Germany 2015 Hybrid Practices in Printmaking Chelsea College of Art/Bergen Academy of Art & Design 2015 Shadows Symposium. KeynotePrintmaking & Photography – Camberwell College of Art 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: Harris Museum & University of Santa Cruz, USA 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



Jane Collins Biography  Jane Collins is Professor of Theatre

and Performance at Wimbledon College of Art. She is a writer, director and theatre-maker who works all over the UK and internationally. She co-edited Theatre and Performance Design: a Reader in Scenography, published by Routledge in March 2010. This book, 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. Also in 2012 Collins secured funding to establish a partnership between the University of Hyderabad and Wimbledon College of Art 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. Jane is a member of TrAIN Research Centre and in 2014 was awarded a network grant from the AHRC, Performing Romani Identities: Strategy and Critique. She is founding member of UAL Performance Network, an interdisciplinary network of artists who run workshops and performance-related events across the university, and co-editor of the new Routledge journal Theatre and Performance Design. 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 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 unconventional readings of canonical texts. A recent output  Performing Romani Identities:

Strategy and Critique (PRISaC) AHRC Network Performance and Symposium, London June 2015 When the oil runs out people will need horses Romani survival in Europe, over the course of a millennium, has been contingent upon the adoption and practice of a number of performance strategies, including oral history, storytelling, music, dance and theatre, as well as upon everyday narratives that perform intelligible Romani identities for both the community itself and for non-Roma. With Professor Ethel Brooks of the Department of Women’s and Gender Studies and Sociology, Rutgers University, USA, I have been working to establish a network that focuses on the nexus between Romani studies and performance, with special attention paid to questions of visual culture and representation. We have initiated collaborative partnerships between the TrAIN Research Centre and European institutions with strong ties to Romani communities. Between January and May 2015 we travelled to Alicante, Bucharest, Budapest and Paris working with universities, arts institutions, and Romani organisations. Our aims were to discover the performance strategies currently employed in these cities and discuss ways of establishing links between them, to disseminate ideas and share best practice. Representatives from all these groups were invited to a final symposium and a performance in London to coincide with the launch of the website. The findings of this research will be published in a co-authored chapter by Dr Brooks and myself in Scenography Expanded for Bloomsbury Press March 2017.



When the Oil Runs Out, People Will Need Horses – a day of Romani Performance, Strategy, and Critique – event poster. AHRC Network.

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 2015 Ed. Aesthetics of Absence, Texts on Theatre by Heiner Goebbels, English translation, Routledge: London Selected conferences 2015 IFTR International Federation of Theatre Research, Hyderabad, India. 2015 Performance Matters. Rutgers University New York USA 2014 IFTR International Federation of Theatre Research. Warwick 2014 International Theatre Festival of Kerala. Kerala: Kerala Sangeetha Nataka Akademi

2013 Stanley Kubrick Symposium. Los Angeles: LACMA 2013 15th Bharat Rang Mahotsav – An International Theatre Festival. Delhi: National School of Drama (NSD)



Neil Cummings Biography  Neil Cummings is Professor of Theory and Practice at CCW: Chelsea. He was born in Wales and lives in London. Research statement  I have evolved a multidisciplinary 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, and convening participatory events – #Transacting: A Market of Values (with Critical Practice) A recent output  An insurgent research group

I am part of at CCW, visited Geneva to meet with artists, academics and activists working at CCC (critical curatorial cross-cultural cybermedia studies) a Research-Based Master Programme at HEAD (Haute école d’art et de design – Geneva University of Art and Design). This was a return visit after we had met and discovered overlapping research interests through an exchange trip to MayDay Rooms in London. At MayDay Rooms we were both inspired by tributary diagrams, and the possibilities offered by tracing relations between the things we valued, especially in relation to resilience and the Anthropocene. In Geneva, we were introduced to the research project The Athropocene Atlas of Geneva (TAAG), and, led by our hosts, took to the city. Getting a sense of large-scale climatic changes that have occurred in the past, and that are expected to intensify in the future is not an easy task. Trying to understand how human activities are influencing these processes, and sensing them from a local

perspective is also a challenge. The microinvestigations in the city proposed to focus on a series of indicators of long term climatic evolution as it was locally recorded, and groups and communities experimenting with resilience to the changes to come. Our last appointment was with Professor Martin Beniston at HEAD. Martin is a climatologist, director of the Institute for Environmental Sciences <Battelle>, and Nobel Prize winner for his contribution to the Intergovernmental Panel on Climate Change (IPCC) Report in 2007. We sat around a small table and looking at images and animated models on Martin’s laptop, were treated to an hour-long masterclass on the causes, evidence for, and effects of global warming. Martin was clear, precise, and when tasked by simple questions from non-specialists, gracious in his responses. We also discussed some of the parameters of possible change. Martin thought the two degree limit, as agreed by UN nations in Copenhagen in 2009, by the end of the century as unrealistic. He thought close to four probable, six possible. At six there would still be some winners – farmers in Canada, and losers – vast populations in the Ganges Delta, Sub Saharan Africa, and anything in the tropics. And, as a worst case scenario eight degrees. Nearing eight degrees of warming there are no winners. Selected exhibitions 2015 Open Cinema at Open School East, London 2014 The Perfect Institution: Culture 2017, Kunsthal Aarhus, Denmark 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


The Sautiers Mace, with stones from Mont Blanc and the Pierres du Niton: Neil Cummings.

Selected events 2014 Differently Screening 4: SUNLIGHT: energy labour value (with Critical Practice) filmscreening powered by Electric Pedals Cinema hosted by Open School East. 2014 More things can happen than will, or have, Platform Lecture, Chelsea College of Arts. Selected publications 2015 ‘A Joy Forever’. In: A Joy Forever: The Political Economy of Social Creativity, Free/ Slow University of Warsaw. 2014 ‘Generosity’. In: Truth is Concrete: A Handbook for Artistic Strategies in Real Politics, Sternberg Press 2014 ‘Reading Things: the alibi of use’. In: Hudek, A The Object. Whitechapel: MIT press. 2013 ‘V&A Bicentenary’. In: Pye, M. & Sandino, L. (eds) Artists Work in Museums: Histories, Interventions, Subjectivities. Bath Spa University: Wunderkammer Press




Rebecca Earley

H2020 Trash to Cash project; and the FIRE Up and Worn Again projects (AHRC).

Biography  Becky is a designer and researcher

whose printed textiles have been widely published and exhibited over the last twenty years. She has been a lead researcher at Textiles Environment Design (TED) since 2000 and Director of the Textile Futures Research Centre (TFRC) since 2010. She researches sustainable design strategy; curates exhibitions; creates materials, models and prototypes; and mentors other designers and researchers to explore TED’s vision of a more sustainable industry and culture. Becky works with organisations to embed sustainable design research within the corporate culture. Recent clients include H&M, VF Corporation, Puma, DAFI, Sustainable Fashion Academy and Zero Waste Scotland. Research statement  Becky’s practice is concerned with researching the role of the designer in creating institutional and cultural change towards more sustainable and circular, closed-loop practices. Becky co-developed TED’s The TEN – sustainable strategies which educate and inspire users to make more informed and innovative decisions. Becky uses design-led methods in workshop scenarios to systematically reconsider the design process and generate new systemic visions; as well as practice-based methods to test the visions in social and commercial contexts. Recent research roles include: the Swedish funded MISTRA Future Fashion project; the EU funded

The Textile Toolbox exhibition, at the Fashion Institute of Technology (FIT) New York, June 2015

A recent output  The Textile Toolbox is a

multifaceted outcome for TED’s MISTRA Future Fashion research (2011–2015): at first a collaborative blog platform for international textile design experts (2012); then an online and touring exhibition (2014); and in 2015 a MISTRA industry report, The Textile Toolbox: New Design Thinking, Materials and Processes for Sustainable Textiles in a Fashion Context. The report shows how the team used action research methods via workshop facilitation with a range of industry stakeholders including design teams in corporations, in small and medium enterprises, and emerging designers about to embark upon their careers. In the first half of the project period the research team and external collaborators used ‘The TEN’ strategy cards (Earley & Politowicz, 2010) to review current design decisions and best practice in fashion in Sweden in a global context. Using specialist prior knowledge researchers identified existing synergies then tested them by developing workshop experiences to arrive at new design models; enabling participants to evaluate existing fashion products and propose redesign ideas. Informed by this, the team then moved into exploring further these models through handson practice: the prototypes demonstrate new ways to ‘play’ the strategy cards. By using different lead cards research focused on: material, product and process innovation; social, systemic and economic concepts; and the self and shifting mindsets and habits. The report presents models of how the designer will need to extend and shift roles in the future-enabling them to use ‘textile designerly ways of thinking and doing’ to develop social design strategies specific to the industry. It presents the design tools that were developed and tested throughout the project, signposting the reader to the final online resource and incarnation of The qualitative design toolbox emphasizes the


understanding of lifecycle thinking for fashion and textiles, offering guidance and practical ideas in how to apply this understanding, to foster more open and collaborative innovation in the emerging sustainable design landscape. Exhibition Curation & Artefacts Earley, R., & Goldsworthy, K. (2014–2015) Textile Toolbox, online showcase for Mistra Future Fashion. Touring exhibition: London, Glasgow, Copenhagen, New York, Borås, Uppsala, Falmouth Earley, R., & Dodd, I. (2014) Shanghai Shirt, Textile Toolbox exhibition tour; Green showcase, Whitworth Museum, Manchester; Textile Toolbox exhibition tour Earley, R., (2014) ReDress Shirt. Milan Furniture Fair; Textile Toolbox exhibition tour Earley, R., (2013) Fractal Shirt / Shirt Film. 10th European Academy of Design Conference – Crafting the future. 17–19 April, Gothenburg: University of Gothenburg Selected Publications 2015 Earley, R. et al ‘The Textile Toolbox: New Design Thinking, Materials and Processes for Sustainable Textiles in a Fashion Context’, MISTRA End of Award Report, Sweden 2015 Earley, R., & Goldsworthy, K. ‘Designing for Fast and Slow Circular Fashion Systems’, NTU, PLATE Conference. 17–19 June 2015 Earley, R., & Vuletich, C. ‘Holistic Fashion Design, in Fashion Design for the Curious: Why Study Fashion’, by Kishor Vaidya, PhD, Associate Professor, University of Canberra, Canberra, Australia 2015 Earley, R., & Harvey, B. ‘Elastic Learning Tools, in ‘Cultures of Resilience’ (CoR), Ezio Manzini and Jeremy Till. Hato Press; London 2014 Earley, R. & Ballie, J. ‘Black Hack Chat’, in In the Making: The Power to the People Workshop Track at Crafting the Future (von Busch), The Design Journal. vol. 17, issue 3 2013 Earley, R. & Politowicz, K. ‘The TEN: A Tool for Narrative Prototypes’. In: Wilson, M. & van Ruiten, S. Handbook for Artistic Research


Education. Amsterdam, Dublin, Gothenburg: DIT/GradCAM and ELIA. Selected conferences 2015 Earley, R. et al A New ‘T’ for Textiles: Training design researchers to Inspire Buying Office Staff Towards Sustainability at Hennes and Mauritz (H&M), The Value of Design Research, EAD11, Paris Descartes University – Paris College of Art – ISTEC Paris, Paris & Boulogne sur Seine France, 17–19 April 2014 Earley, R. The “i” In The Textile Team, invited keynote at Transition, University of Huddersfield, 26–27 November 2014 Andersen, K.R., & Earley, R. Design Thinking for Sustainability: A Case Study of a Research Project between Hennes & Mauritz and Textiles Environment Design, at 20th Annual International Sustainable Development Research Conference, Trondheim, Norway: Norwegian University of Science and Technology 2013 Earley, R. & Politowicz, K. We Shape Our Tools, Then They Tools Shape Us. Research Through Design, Newcastle: University of Northumbria Industry Keynotes & Advisory Roles 2015 FIT Summer Institute: Sustainability in Fashion and Textiles: Reinvention and Innovation 2015 Global Change Award judge, Conscious Foundation, H&M, Sweden 2015 The Forest on the Catwalk. SP seminar at Borås Textile Fashion Centre, Borås, Sweden 2015 Beyond Trends in Sustainability, Textile Institute London & South East England Section and the SDC 2014 Competition Judge, Esthetica, London Fashion Week 2014 Textile Toolbox: House of Lords, All Parliamentary Working Group for Design and Innovation (APDIG) 2014 The Redress Forum, Hong Kong 2013 H&M Head Office, Stockholm 2013 Advisory Board Member, Fashion Revolution Day, London



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 and her videotapes have been shown on Channel 4 as well as on Spanish, Canadian and French television networks. Her work is archived at LUXONLINE and REWIND. Elwes is the author of Installation and the Moving Image (Wallflower Press, 2015); Video Art – A Guided Tour (I.B. Tauris, 2005) and Video Loupe (KT Press, 2000) and she has written for publications such as Filmwaves, Vertigo, Third Text, Contemporary Magazine, and Art Monthly. She is currently writing 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 and a chapter on landscape attempts to account for the divergent approaches to imaging land between Aboriginal and non-Aboriginal artists in Australia and the role of the digital generation of images of nature in the politics of place within Australian moving image. My recent critical writing takes in the claims of post-feminism in the context of Pipilotti Rist’s installations, the role of sound amplification in the work of Stansfield and Hooykaas and mutability in the Peter Campus’ installations.

A recent output  Film and video create an

illusory world, a reality elsewhere, and a material presence that both dramatises and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television and the visual arts. My book Installation and the Moving Image traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, ‘70s, and ‘80s. Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship, and the insights of cognitive science. Woven into this genealogy is a discussion of the procedural, political, theoretical and ideological positions espoused by artists from the mid-twentieth century to the present. Historical constructs such as Peter Gidal’s structural materialism, Maya Deren’s notion of vertical and horizontal time and identity politics are reconsidered in a contemporary context and intersect with more recent thinking on representation, subjectivity and installation art. I was always fascinated by the spatial and sculptural possibilities of video, and back in the 1970s and early ‘80s I used monitors to create the windows of a house or the reflection in the “water” down a well. Where I enclosed and concealed the monitors in sculptural structures, other artists like David Hall and Tina Keane used the “box” itself as a building block for media installations that emphasised the specific nature of the technology. Once I started looking at other forms of media staging, works that used film, light, sound and live performance, I found that the whole history of avant-garde practices intersected in the “mongrel” discipline of installation art.



Cover of Installation and the Moving Image (2015), Catherine Elwes. Image: David Hall, 1001 TV Sets (End Piece) (1972–2012). Installation view, Ambika P3 gallery, London. Courtesy of the artist and Debi Hall.

Selected publications 2015 Installation and the Moving Image (Wallflower Press) 2015 ‘David Hall obituary’, with Steven Ball, Moving Image Review & Art Journal. vol. 3, pt. 2, pp. 308–314 2015 ‘TV Museum’, Review Article, Moving Image Review & Art Journal. vol. 3, pt. 2, pp. 282–290 2015 ‘In Memoriam’, Editorial, Moving Image Review & Art Journal. vol. 3, pt. 2, pp. 145–147 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 Perspectives’, Moving Image Review & Art Journal. vol. 2, pt. 1, pp. 124–130 Selected conferences Women’s Images of Men, paper at day conference on the ICA Women’s Shows, Nottingham Contemporary, March 2014 Introductory address to a curated programme of women’s video art on themes of masculinity. Nottingham Contemporary, March 2014. Feminism in Art School, paper at the Art School, Another History symposium. London: David Robert Art Foundation, May 2–14



Stephen Farthing Biography  Stephen Farthing studied at 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 that include researching Native American Ledger Drawings at the Smithsonian Archives in Washington DC, and developing an exhibition for the Royal Academy on the first Tribal Nations and completing. 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 that 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 drawing. I am currently developing a series of paintings and drawings whose narratives are conditioned by 19th century Native American Ledger drawing. A recent output  My most recent research

consciously sets out to connect my activities as a researcher into drawing and my studio practice as a painter. My approach fuses my view of 19th century Plains Indian Ledger drawing and my understanding of contemporary asymmetric warfare, so they are about appearance and ultimately the visibility of the warrior. The paintings and drawings which have the working title Drone on the Range: step away from your shadow, take us from The Horse to The Ford Mustang and The Feather War Bonnet to the Predator Drone.

Selected exhibitions 2014–15 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 Selected conferences 2015 The Drawn Word: Keynote Speaker; British Museum, London 2014 Drawing Today. Keynote Speaker. DRAW2014 February 27 – March 1. Pittsburgh: Carnegie Mellon University Selected performances 2014 Titian’s Ghosts. 10 minute film performed and co-directed, commissioned by the National Trust Selected awards | appointments | acquisitions 2012–ongoing Elected Chairman of the Royal Academy of Arts, Exhibitions Committee


Drone on the Range : step away from your shadow, 2015, gouache on board 19.7 × 20.8 cm




Eileen Hogan Biography  Eileen Hogan is an artist and researcher who has shown her work extensively in museums and private galleries in the US and Europe. Her practice includes painting, drawing, prints and book art. She is on the Academic Board of the Royal Drawing School and is a patron of Mindroom, a Scottish charity for children with learning disabilities. Research Statement  One strand of my

research explores the way that artists, theorists, and curators engage with and ‘play’ in archives and the concomitant impact that collections can have on practice. A current partnership with the National Theatre Archive explores issues of design, process, production and how authorship is revealed in the relationship between designers, directors, and writers. A second strand of research explores the role of portraiture in contemporary practice and examines what happens when different disciplines and perspectives are brought to bear on the concept of portraiture, questioning identity and the embodied self and building connections between emerging definitions and ideas. A Recent Output  Reimagining the Line

I was one of five artists invited by Tate Research to each construct a filmed life class at Tate Modern to a group of students nominated from the London art schools. The project examined historical and contemporary assumptions about educational practices related to the life room and was one thread of the Leverhulme-funded Tate research project: Art School Educated – a research project exploring the impact of art education on artistic production. My film explored the relationship between portraiture and biography and the way that stories underlie how we see the world.

From May 2014 to April 2015 the films were shown in the Tate Britain Display – Reception, Rupture and Return: The Model and the Life Room. This display examined the role of the life model for the artist (and vice versa), the evolution and disruption of the life room, and the changing status of life drawing from the 19th to the 21st centuries. Themes included the model as metaphor and the challenge to convention; the model as person; the model as political vehicle; the avant garde and the body as vehicle for artistic idea; refiguring the model in the inter-war years, the model reconceptualised post-war and life drawing since the 1960s. Selected exhibitions 2015 Reception, Rupture and Return: The Model and the Life Room, Tate Britain Display 2015 Edges and Enclosures (solo) Browse & Darby, London 2015 The Last of the Tide: Portraits of D-day Veterans, The Queen’s Gallery 2014 ‘Of Green Leaf, Bird, and Flower’: Artists’ Books and the Natural World (featured artist) Yale Center for British Art New Haven USA 2014 BP Portrait Award. London: National Portrait Gallery, Sunderland: Sunderland Museum and Winter Gardens and Edinburgh: Scottish National Portrait Gallery 2014 Eileen Hogan at Little Sparta (solo) The Stockwood Discovery Centre, Luton Museums 2013 Eileen Hogan at Little Sparta (solo) London: Fleming Collection 2013 Vacant Possession. Salisbury (solo) New Art Centre, Roche Court Selected awards | appointments | acquisitions 
 2014 Portrait of Ian Hamilton Finlay acquired by the Yale Center for British Art



Tate Britain Display: Reception, Rupture and Return: the Model and the Life Room, 2015

Selected conferences and Lectures 2015 Don’t Stare It’s Rude, Corsham Court, Bath School of Art. Paper: All portraits are traces that speak in a past tense 2014 Of Green Leaf, Bird, and Flower: Artists’ Books and the Natural World (keynote lecture) Yale Center for British Art New Haven USA 2014 Art School Educated, Tate Britain. Paper: A reflection on the changes in English art school education post Coldstream 2013 In conversation with William Feaver. London: The Royal Drawing School.

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



Nicholas Pickwoad Selected publications ‘Binding’ in The St Cuthbert Gospel: Studies bookbinding and book conservation with Roger on the Insular Manuscript of the Gospel of St John (BL, Additional MS 89000), Claire Powell, and ran his own workshop from 1977–89. Breay and Bernard Meehan (eds), London: He has been an Advisor on book conservation The British Library, 2015, pp. 41–64 to the National Trust since 1978. He was Chief 2012 ‘An Unused Resource: Bringing the Study Conservator in the Harvard University Library of Book bindings out of the Ghetto’. In: from 1992–95 and is now project leader of the Ambassadors of the Book: Competences and St Catherine’s Monastery Library Project based Training for Heritage Librarian. IFLA at the University of the Arts London, where he Publications 160. Berlin: De GruyterSaur is director of the Ligatus Research Centre, which 2012 ‘The origins and development of adhesive is dedicated to the history of bookbinding. He case bindings’ . In: Jaarboek voor Nederlandse lectures and teaches extensively on the history of boekgeschiedenis. Bd. 19, pp. 117–129 European bookbinding in Europe and the USA. Biography  Nicholas Pickwoad trained in

Research statement  I am interested in the

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

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 Selected conferences of terms in collaboration with specialists across 2015 Likewise books bound after what manner Europe, underpins all my work. A recent output  The Evidence of the forged

SNML book structure’, Chapter 4 in: A Galileo Forgery: unmasking the New York Siderius Nuncius, Horst Brederkamp, Irene Brückle and Paul Needham, eds, Walter de Gruyter GmbH, Berlin, 2014 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, and the authors of the previous two volume invited me to join their group to carry out an analysis of the binding which turned out to be just as compromised as the edition itself.

you please, a paper given at the conference Aldus Manutius and the making of the Book, held on the 500th anniversary of the death of Aldus Manutius in the Biblioteca Marciana, Venice 2015 Libri sine asseribus, a Masterclass held in the University Library, Cambridge as part of the programme to celebrate the completion of the catalogue of their incunables 2013 Bookbindings and the history of the book, keynote lecture given at the conference Resurrecting the book, held to celebrate the opening of the new Birmingham City Library



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.



Malcolm Quinn

infrastructural reforms. I chaired a session on The Select Committee on Arts and Manufactures Biography  Malcolm Quinn is Professor of 1835/6, with papers from Michaela Giebelhausen, Political and Cultural History, CCW Associate Dean Mariana Pestana, Shibboleth Schecter and of Research and Director of CCW Graduate School. myself from UAL and Christopher Marsden from the V&A. All the papers on this panel were Research statement  My current research constructed as responses to the script of the engages with ideas that were foundational for Select Committee, a five-minute extract from state funded art education in England – which was spoken by an actor preceding each of utility, taste, wellbeing, cultural prejudice and our papers. As the legatees of a project for a social equity. The identification of this national education in the arts that was initiated set of foundational concepts has developed from in the 1830s, we were examining the work of the historical work on how the state funded Committee as a source code for the journey to art school emerged from a utilitarian critique of Albertopolis and on to Olympicopolis and for our the academy. My current research focuses own actions in the present. on the repurposing of cultural terms and cultural Selected publications objects in the service of utilitarian ethics. A recent output  ‘The Education of the Eyes of

the People: Analysing the Select Committee of 1835/6’ a panel at the conference Victorian Futures at Chelsea College of Arts on 14 and 15 May 2015 The two-day conference Victorian Futures was developed as a collaboration between myself, Professor Anne Massey of Middlesex University, and Professor Bill Sherman of the V&A. Victorian Futures used the past to look critically at the future of a national debate on culture, democracy and the state. This debate began in the 1830s, was developed in the 1850s with the Great Exhibition and Albertopolis, was revisited in 1951 in the Festival of Britain and is now being echoed once again plans for the Olympicopolis development in the Queen Elizabeth Olympic Park. The first part of Victorian Futures engaged with the five-year period between the Reform Act of 1832 and the accession to the throne of Queen Victoria in 1837. At this time, the Victorian Era was still in the future, but the period 1832 to 1837 was also a crucial moment of transition on the route to Albertopolis and Olympicopolis, when a new kind of national script began to be developed that attempted to link the interests of the rulers and the ruled in the sphere of art, design and taste through institutional and

2015 Guest editorial: ‘The analysis of stupidity’ JAWS journal, vol. 1, issue 1 2014 ‘[T]he Royal Academy and the Effects Produced By It: Accounting for Art Education in 1835’ Journal of Visual Art Practice, vol. 13, issue 1 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 ‘Stupidity is Anything at All’. Parallax 19:3 2013 ‘Art and Psychoanalysis (Among Other Discourses)’. In: Kivland, S. and Segal, N. (eds) Vicissitudes: Histories and Destines of Psychoanalysis, London: IGRS/UCL 2012 Utilitarianism and the Art School in Nineteenth-Century Britain. London: Pickering and Chatto Selected conferences, lectures and presentations 2015 ‘30 Years of Experience and Changes in Artistic PhD Programmes in UK’ Keynote Speech at ‘Art Schools and Artistic PhD’ conference ZhDK Zurich 2015 Introduction, panel convenor, conference paper and concluding remarks for Victorian Futures. London: Chelsea College of Arts 2015 ‘Auditing Research in the Arts’ Society of Artistic Research Conference, Chelsea


Victorian Futures conference CCW Enterprise Collective 2015

College of Arts London 2014 Introduction and concluding remarks for Taste After Bourdieu. London: Chelsea College of Arts 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




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

contexts locally, nationally, and internationally. Understandably, my work includes other social and cultural groups to compare experiences, and/or cultural collaborations with people of the African diaspora that enables me to develop a dialogue in the telling and place of individuals and groups. Additionally, the experiences of lives in different situations, the home, on the street and the making of things have also informed the expansion of my research. A recent output  An aspect of my current

research has been driven by reflection on the past. This is explored in the article A Riot of Our Own: A Reflection on Agency published in the themed issue Disturbing Pasts: Memories, Research statement  My current research focus Controversies and Creativity of the Open Arts is primarily on the telling of self through the styled Journal (Summer 2014). The work draws on black body. This includes cross-cultural and theories and interests I have developed through transnational relations of what I call style narratives, my curatorial practice—activism, difference and cultural heritage, auto/biography, personal archives, agency, personal archives, and auto/biography. activism, and agency. I combine these approaches to consider how black people negotiate their The article reflects on the exhibition A Riot of Our sense of self within various cultural and social Own which I curated on the Rock Against Racism

Diagram: Curating Rock Against Racism: New Directions. Devised by Carol Tulloch. Designed by Syd Shelton.


Movement (RAR) 1976–1981. This was told through the personal archives of Syd Shelton and Ruth Gregory who were RAR (London) committee members. It was first shown at CHELSEA Space, London (2008). A Riot of Our Own: A Reflection on Agency charts the development of the exhibition at CHELSEA Space and response by others to the show and its content—namely invitations to show the exhibition at the East End Film Festival, London (2010), and as part of the We Are Here 3 International Festival of Visual Arts in Pula, Croatia (2012). The article is an experimental piece, in keeping with the aims of CHELSEA Space and a remit of the conference Disturbing Pasts: Memories, Controversies and Creativity (2012), where the paper I presented at this conference became the foundation of the article. As a result of reflecting on the curatorial thinking and process I applied to the exhibition, the article includes a chart that outlines new areas of curatorial considerations. Additionally the text explains that the need to exercise agency was the connecting thread between all those involved in the exhibition, a thread that stretched back to RAR’s activism during the five years of its life, to a curatorial-telling of those years in 2008 to 2012. Significantly, by reflecting on the process and delivery of this exhibition, its tour and impact, has enabled me to see where I want to develop my curatorial practice.


African Diaspora’. In: Moore, E.(ed.) In the Seams: The Aesthetics of Freedom Expressed. Stuttgart: Institut für Auslandsbeziehungen

Selected conferences 2015 Rock Against Racism: Style as Graphic Argument. Keynote Lecture, Subcultures International: The Global Circulation of Style. London: University of West London 2015 Style and Content panel Chair, Staying Power Conference, London: Lambeth Town Hall Assembly Room 2015 Researching Dress and the African Diaspora. Invited speaker. Fine Art Programme Under- and Postgraduate Students, Chichester: University of Chichester 2014 A Riot of Our Own, Chelsea Space. Invited Speaker.’ ‘Curating The Everyday’ panel, Curating Conversations Summer Programme. London: Royal College of Art 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. Selected exhibitions London: Courtauld Institute Research Forum 2012 A Riot of Our Own Exhibition. Pula: Friends Lecture Series Galerija Makina 2013 Difference is Good, Difference is Exciting, 2012 International Fashion Showcase. Botswana, Difference is Another Way of Being Modern. Nigeria, Sierra Leone & London Global Platform for Action on Sourcing from Women Vendors: Textiles and Garment Buyer Selected publications Mentor Group Event. London: House of 2014 ‘A Riot of Our Own: A Reflection on Commons Agency’. In: Open Arts Journal, 3: Summer 2013 Dress as Auto/Biography Workshop One2012 A Riot of Our Own. London: TrAIN Research day event. London: Victoria & Albert Museum. Centre Organiser, chair and contributor 2012 ‘Take a Look at it From My Point of View’. 2013 Yinka Shonibare MBE: Making-FreedomIn: Jackson, T. and Watson, G. Kimathi Donkor: Recalcitrant. Keynote Lecture, Yinka Queens of the Undead. London: Iniva Shonibare MBE: Making Material Positions 2012 ‘It Takes a Nation of Millions to Hold us Conference. Wakefield: Yorkshire Sculpture Park Back: Freedom and the Dynamics of the



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 organisation representing over 350 European Higher Arts Institutions. He is currently a member of The Board of Trustees of Cape Farewell, an artist-run organisation that promotes a cultural response to climate change, and a Trustee of The Today Art Museum, Beijing Chris Wainwright is also an active professional artist and curator working in photography, installation and video, whose 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 was recently shown as part of the UK touring exhibition Fleeting Arcadias – Thirty Years of British Landscape Photography from the Arts Council Collection. He recently co-curating Unfold, a Cape Farewell international touring exhibition of work by artists addressing climate change. Chris Wainwright’s photographic work is held in many major collections, including the Victoria & Albert Museum, London; The Arts Council of England; Bibliotheque Nationale, Paris; the Polaroid Corporation, Boston, USA; and Unilever, London. Research statement  I work primarily through photography and video as a means of addressing issues related to the effects of light, both natural and artificial, in urban and remote environments. The work is informed by a direct response to place and is often the result of an intervention, a temporary action or construction made for the camera as a unique form of witness for recording light. I am interested in the cause-and-effect

We Are All Stars. Kamaishi, Tohoku Region, Japan. Performance and digital print, 2014


relationship between urban and unpopulated spaces, and the way light is deployed as a form of illumination, communication, invasion and pollution. Overall, I have a concern for representing the issues and effects of environmental change through my direct presence, actions and journeys, always undertaken in darkness; and the way that this can be part of a strategy of image-making that does not rely on journalistic or didactic approaches but has its roots more in the pictorial traditions of painting. A recent output  The project We Are The Stars

seeks to empower people to not only to reflect on the past but also to find new ways to create a sustainable vision of the future through artistic practice, dialogue and group engagement. This project has two main components. The first is a series of performance based night time photo works utilising semaphore signalling and drawing, performed on the shoreline in areas affected by the tsunami of 2011. The second part extends the performative aspects into a collaboration with the Australian musician and composer Cathy Milliken to include sound and voice compositions and performances that are based on systems of communication including, semaphore, morse code and the interpretation of visual material and objects into sound. The project is supported by Future Lab Tohoku based in Tokyo who have commissioned a number of international artists from a range of disciplines to work collectively in the disaster region. It is now 4 years since the earthquake and tsunami hit the north east coast of Japan. Whilst much has changed since then there is still a massive degree of uncertainty about the future of the Tohoku region with many individuals, families and communities still living in limbo, in temporary housing, without work, with increasing levels of mental health issues and being subject to environmentally threatening projects such as the construction of monumental sea defences that bring almost as many problems as they claim to solve. Both aspects of the project involve sustained relationships with communities and organisations


and are intended to be interactive and responsive to the creative input and inherent knowledge, experience and recollections of local people. The devastating experiences of the 2011 tsunami, the histories and traditions of the region and the present day existence will all form part of the background to expressing new ways of visioning the future. Selected exhibitions 2014 Points of Departure, Fotografins Huis, Stockholm 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 publications 2014 Broken, Environmental Photography, Art Publishing, Stockholm 2013 Troubled Waters. (ed.) Camberwell Press/ KUANDU Museum, Taipei 2013 A Catalogue of Errors. Monograph publication, London: Diawa Foundation 2012 Expedition. (ed.) London: Bright publications Selected awards | appointments | acquisitions 2014 Artist in Residence, Taitung Museum of Contemporary Art, Taiwan 2014 Trustee, Today Art Museum, Beijing 2009–13 Chair of Trustees, Cape Farewell 2008–13 Member, Tate Britain Council 2012–13 Board Member, Asian League of Institutes of the Arts (ALIA) 2009–13 Jury Member for Global Design Cities Organization, Seoul, South Korea



Toshio Watanabe

consumption of these art forms locally and globally.

Biography  Toshio Watanabe studied at the

Universities of Sophia, Tokyo, London and Basel, where he completed his PhD. He taught at the City of Birmingham Polytechnic, where he ran the MA in History of Art and Design course. Toshio has worked at Chelsea College of Arts since 1986, initially as the Head of Art History and later as Head of Research. He is researching art history of the period 1850–1950 and is interested in exploring how art of different places and cultures intermingle and affect each other. Current external roles include acting as Vice President of CIHA (Comité International d’Histoire de l’Art). Research statement  The main focus of my research is transnational interactions of art with an emphasis on the issues of modernity and identity. I am particularly interested in exploring this, not just in bilateral, but in multilateral relationships, such as those between Japan, China, Taiwan, India, Britain or the USA within the time span between 1850—1950. My interest in transnational relationships covers all media, but particularly architecture, garden design, watercolour painting, photography, and popular graphics. Particular emphasis is put on the

A recent output  I continued with my research

on modern Japanese gardens this year, but have also written two catalogue essay contributions on different topics. The essay ‘Kyosai and Conder’ is for an exhibition in Tokyo on Kyosai, who was a major painter of the second half of the nineteenth century Japan. His reputation went through an extreme scholarly neglect only to be revived in the 1980s. I have tried to give an account of this. Also a close friend of his was the English architect Josiah Conder, and I tried to analyse their relationships, which was one the most beautiful examples of the twain of East and West actually meeting. The second piece was for the catalogue of a Botticelli exhibition for Berlin and the V&A and provides an analysis of Yukio Yashiro’s 1925 monograph on Botticelli. Yashiro was a Japanese art historian trained by Bernard Berenson in Florence. This book was a magnificent achievement and remained as the standard work on this artist over many years. He introduced large illustrations of targeted details of paintings for his book and this method became widespread afterwards. For example, Kenneth Clark used this with acknowledgement to his

The forest that surrounds Meiji Jingu, in the heart of Tokyo, was planted in the early 20th century


friend Yashiro for his book One Hundred Details from the National Gallery (1938). I also touch on the discrimination Yashiro suffered as a Japanese historian of Western art. I have also received funding from Toshiba International Foundation for a lecture series ‘Tokyo Futures: 1868–2020’. It is planned that this should develop into a conference where we examine the future of Tokyo with the three keywords nature, city, and arts. Selected publications 2015 ‘Alfred Parsons, RA, PRWS (1847–1920) and the Japanese Watercolour Movement’. In: Cortazzi, H. (ed.) Britain & Japan: Biographical Portraits. vol. 9. Leiden and Boston: Global Oriental 2014 ‘The Art Historical Canon and the Transnational’. In: Grossmann, G. U. & Krutisch, P. (eds) The Challenge of the Object, Nuremberg: Germanisches National Museum 2013 ‘Rinpa and Japonisme’. In: Shimohara, M. (ed.) Reconsidering Early Modern Yamato-e: Perspectives from Japan, the UK, and the USA. Brücke, Tokyo 2013 ‘Josiah Conder (1852–1920)’. In: Cortazzi, H. (ed.) Britain & Japan: Biographical Portraits. vol. 8. Leiden and Boston: Global Oriental 2013 ‘1910 Japan-British Exhibition and the Art of Britain and Japan’. In: Hotta-Lister, A. & Nish, I. (eds) Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives. Leiden and Boston: Global Oriental Selected conferences 2015 Session organiser of National Histories of Art beyond the National Borders, Association of Art Historians Norwich conference 2015 Japanese Gardens against Nature? From Kenzo Tange’s Kagawa Prefectural Office Garden (1958) to Hasegawa Itsuko’s Shonandai Culture Centre Coutyard Garden (1990). Paper for the Association of Asian studies conference at Chicago 2014 How Japonisme affected the notion of ‘Art’ in Modern West. Paper for a conference


Reconstructing the Concept of Art in Japan in Kanazawa, Japan 2014 Organised an international workshop on Japanese gardens outside Japan at Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich 2014 Moderator, International Symposium Trauma and Utopia: Interactions in Post-War and Contemporary Art in Asia organised by Mori Art Museum and Tate Research Centre: Asia-Pacific in Tokyo 2014 Moderator, International symposium Reconstructing the Concept of Art in Japan, University of Chicago 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 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 awards | appointments | acquisitions Member of the Management Board, Sainsbury Institute for the Study of Japanese Arts and Cultures (2015–) Member of the Advisory Board, Tate Research Centre: Asia-Pacific (2013–) Visiting Professor, Australian Institute of Art History, University of Melbourne (September–October 2013)




Michael Asbury

that, in this particular case, may evade even Brazilian readers. At first glance, although Biography  Dr Michael Asbury is Reader in the somewhat strangely juxtaposed with or against History and Theory of Art, and member of the the word stone, the term ‘vão’ appears to mean research centre for Transnational Art, Identity a gap, a slit, a slot, a fissure, an opening, a gash. and Nation (TrAIN). He concluded his PhD on ‘Vão’, however, is also the present third person the work of Helio Oiticica at UAL in 2003 and has plural tense of the verb ‘to go’. Next to the word since become an internationally recognised stone it would be grammatically correct only specialist in modern and contemporary art from if expressed, in the present third person singular Brazil. He has published extensively and has tense, as ‘vai’ – the ‘stone goes’ (pedra vai) instead curated numerous exhibitions in the UK, Europe of ‘stone go’ (pedra vão) as in the title. ‘Stone gap’ and Latin America. therefore appears to make more grammatical sense than its other possible literal translation, Research statement  The geopolitical ‘stone go’. Despite this fact, the juxtaposition expansion of references beyond the hitherto between the words ‘stone’ and ‘gap’ remains hegemonic Euro-American axis, brings to the strange since no explicit meaning is elucidated fore a paradoxical condition for contemporary beyond the words’ separate individual art produced in, or by artists from, regions significations. To complicate matters further, previously labelled as the ‘cultural periphery’. when used as an adjective, vão, possesses On the one hand, never before has art from multiple meanings, from frivolous to vain, outside the ‘cultural centre’ received such widepointless to futile, all of which a cynic could ranging exposure, a fact corroborated by the quite easily equate with the activity of art itself. proliferation of international biennials and art A poetic counterargument would propose that fairs, as well as by the revised and enlarged scope as such the single art object is thus related to of interests expressed by commercial galleries the totality of the category, that it is all and auction houses. On the other hand, the encompassing, all embracing. A futile activity critical and curatorial discourse responsible for that is all the more poignant because of it. the legitimation of much of this recent art on a global stage, more often than not invokes local Selected exhibitions 2014 Maria Laet: Pedra Vão, Galeria A Gentil art historical precedents, with all their socioCarioca, Rio de Janeiro. political entanglements, in a manner that is 2013–14 Ibere Camargo: O Carretel, meu often veneered by radicalism and the rhetoric personagem. Porto Alegre: Fundação Ibere of postcolonial and/or cultural studies. It is Camargo. unmasking and problematising this paradoxical condition, at one and the same time a product Selected publications of a will for inclusiveness while also unwittingly 2015 ‘Anna Maria Maiolino: her other selves’. In: demarcating spaces of differentiation that my Flash Art International practice as an art critic, curator and art historian 2015 ‘Raul Mourão: Toque Devagar/Handle with seeks to engage with. A recent output  Maria Laet: Pedra Vão

exhibition at Gentil Carioca in Rio de Janeiro, 2014 The title of this exhibition, which was chosen by the artist herself, is a good place to begin exploring certain operations that her work sets in play. In Portuguese the word ‘vão’ has an ambivalence

Care’. In: Raul Mourão Volume I, Automatica, Rio de Janeiro 2014 ‘Abstract Impulses’. in: Impulse, Reason, Sense, Conflict: Abstract Art from the Ella Fontanals-Cisneiros Collection, Miami 2014 ‘Iberê Camargo: O Carretel Meu Personagem’. In: 100 Anos de Iberê, Cosac & Naify and Fundação Iberê Camargo



2014 ‘21 Forma de Amnesia, and Sobre a Moore Institute, Leeds Mobilidade’. In: Milton Machado: Cabeça, 2014 Brazilian Contemporary Art under Editora Luneta: Rio de Janeiro, 2014 contamination and quarantine. C-Map 2014 ‘Helio Oiticica e a Ditadura Militar no Brasil’ presentation. New York: MoMA (Helio Oiticica and the Military Dictatorship 2014 Franz Weissmann and the British modern in Brazil). In: Em 1964: arte e cultura no ano legacy. Latin American Studies Association do golpe. Sao Paulo: Instituto Moreira Salles (LASA) annual congress, Chicago, USA. Selected conferences 2015 Hélio Oiticica: O Q Faço é Música, III Seninario Internacional de Moda, Cultura e Arte, Instituto de Artes e Design, Universidade Federal de Juiz de Fora 2015 Hélio Oiticica: O Q Faço é Música, II Seminario Internacional de Historia e Arte, Universidade Federal do Paraná, Curitiba 2015 Notes on Translation, Possibilities of Exchange, University of Edinburgh 2015 Round Table, Possibilities of the Object, Fruitmarket Gallery, Edingburgh 2014 ‘Process and organicism in post war constructivist art from Brazil’, Sculpture Creatures study-day accompanying the exhibition Lygia Clark: Organic Planes, Henry

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 Salao no Seculo IX. Rio de Janeiro: Galeria de Arte Mercedes Viegas 2014 Helio Oiticica and the notion of Creleisure. The Ludic Museum, two day international conference. Liverpool: Tate Liverpool Interview 2015 (aired) Interview for ARTE 1, TV channel (Brazil), on programme focusing on Maria Laet

Maria Laet, Untitled (Seesaw), 2011, inkjet print on cotton paper, 51 × 80 cm



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 exhibited in ‘East International’, the Northern Gallery for Contemporary Art, the De La Warr Pavilion, and the Wolverhampton Art Gallery. In Europe, we have exhibited in Athens, Bologna, Bruges, Rome, and Stockholm; in the USA in New York, Philadelphia and San Francisco. Perceiving a conflict between my internationalism and environmentalism, I stopped using jet travel in 2005. Research statement  My research, practice and teaching are informed by a critical engagement with the relationship between visual culture and the contested ideal of ‘sustainable’ development. My current research explores how a university’s organisational networks and hierarchies might collaborate to contribute to the transition

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

beyond the combined threat of climate damage and energy crisis. I am interested in the instrumental potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions that may stimulate the kind of debate that is at the heart of active social agency. A recent output  Black Narcissus (2014)

Artificial mountain landscape generated from financial graphs
 In 2003 Cornford & Cross made a work for the London School of Economics, titled ‘The Lost Horizon’. This used financial data provided by American Express to generate a fantasy mountain landscape, which we distributed through the LSE as a computer screensaver. A decade on, we used terrain-generating software for advertising and mainstream cinema, to fuse the abstract profile of financial graphs with the illusory space of computer generated imagery. The rise and fall of trade in the graphs emerges as steep gradients resembling rock faces, cliffs and ravines. The passage of time on the horizontal scale encompasses the historical period 2003–2013. From the US invasion of Iraq, through the Global Financial Crisis, and the


emergence of ‘online whistleblowers’, the landscape embodies a decade of trauma, chaos and revolution. Developments in digital technology have been implicated in this course of events. From High Frequency Trading algorithms in the financial markets, to powerful new tools of simulation, visualisation and mapping, advancements in understanding have been undercut by alienation and oppression, heightening the precarious relationship between the actual and the possible. The title ‘Black Narcissus’ refers to the 1947 film by Michael Powell and Emeric Pressburger. Set high in the Himalayas, the narrative pictures a colonial venture brought to crisis by the tension between asceticism and sensuality. Reflecting on the futility of trying to shape reality to an image, the film makes subtle use of visual illusion to lend a dreamlike quality to the mountain landscape, heightening its symbolic ambiguity till it resonates with the force of repressed conflicts. Selected exhibitions 2014 Afterimage in the Brighton Photo Biennial, curated by Photoworks 2014 A Month in the Country in Homage to January, curated by Nathaniel Pitt. Worcester: Worcester City Gallery and Museum 2013 Praxis in 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. On Not Knowing. London: Black Dog Publishing 2013 ‘Bonjour Tristesse’. In: Rawes, P. Relational Ecologies. London: Routledge 2013 ‘Are You Looking for Business?’ In: Mallow, T. The Cultural Review. Nos. 2,3,4,6,8


Selected conferences 2015 Take the Money and Run? An Event about Ethics, Funding and Art. Convened by Jane Trowell. London: Artsadmin and Home Live Art, in collaboration with Platform. 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



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 Fairnington’s work, Fabulous Beasts, which was mounted at the Natural History Museum, London in 2004. In 2008, he was one of ten artists invited to produce designs for a ceiling in the NHM to mark the bicentenary of Charles Darwin, and his work was also included in A Duck for Mr Darwin – Evolutionary Thinking and The Struggle To Exist at the Baltic Centre for Contemporary Art. Unnatural History, January– March 2012, was a major retrospective exhibition of Fairnington’s work held in two venues – the Kunstverein and Galerie Peter Zimmermann, Mannheim, Germany. The exhibitions contained 51 works made during the period 1999–2012. The Nature of the Beast was a group exhibition that 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 Our Creatures curated by Fairnington that explored the ways in which artworks have described different relationships between human beings and animals.

and is not accessible to the general public. My aim is to interrogate this collection through a series of paintings that document, describe, and reimagine some human images contained within it. The paintings will situate these images within the historical context of still life painting. Objects are housed as specimens in closed cabinets; wax heads sit next to anatomical models, real skulls, and medieval sculptures. There are rooms of prosthetic limbs and shelves with plaster death masks of executed criminals. The figure is present here as specimen (shrunken heads, samples of tattooed skin), and image (wooden heads), and in the form of objects made to fit the body (a DIY iron lung made by a man in Cardiff for his Wife), and operate, injure, disguise, protect, embellish, and contain it. For me as a visual artist, what makes it so compelling is the fluidity with which it shifts between medicine, art and anthropology, creating juxtapositions that are disturbing, unexpected and profoundly moving. My paintings represent the objects in the collection, as they are in situ, contained but not curated. A recent output  A London Assembly,

Delahunty, London This one person exhibition was the first time works from the Collected Human series were shown together. The exhibition was accompanied by a publication – Mark Fairnington, A London Assembly with text by Andrew Lambirth.

Research statement  The Collected Human

Working with the Wellcome Collection my recent research examines the idea of figurative painting, the painting of the human subject as specimen, through the prism of collecting, the cabinet of curiosities, and the history of still life painting and portraiture. Created in the late 19th and early 20th century, the Henry Wellcome Collection became a history of how the human body has been perceived, understood and studied in different cultures. It is a place where the histories of art and science criss-cross. What remains of the collection is now housed in a storage facility at Blythe House, West Kensington

Selected exhibitions (one person exhibitions) 2015 A London Assembly, Delahunty, London 2014 of People, Galerie Peter Zimmermann, Mannheim, Germany GROUP EXHIBITIONS 2015 Gallery of Wonder, curated by Judith King including Brothers Quay, Tessa Farmer, Polly Morgan, Aideen Barry 2015 Drawing Room, Drawing Biennial 2014 Ben Elwes Fine Art, including Joshua Reynolds, David Wilkie, Hans Pleydenwurff, Balthasar van der Ast, Claude Vernet, Enoch Seeman, Antonie Pitloo



Puppetman, oil on panel, 13 × 40 cm, 2015

2014 BP Portrait Award 2014, National Portrait Gallery, Sunderland Museum and Winter Gardens, Scottish National Portrait Gallery 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 Wolverhapmton: 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 2015 Mark Fairnington, A London Assembly, Delahunty, text by Andrew Lambirth, 978-0-9932862-0-9 2014 Intersubjective Encounters, Re-examining the work of Adrian Rifki. Arnold, D. London: I B Taurus & Co Ltd 2014 Mark Fairnington. New York: Artstar, limited edition fine art prints 2013 The Nature of the Beast. Robinson, D. Walsall: The New Art Gallery Walsall. Selected conferences Don’t Stare It’s Rude Symposium, 4 February 2015 Collected and Possessed – the collected human where portraiture and still life meet



Sigune Hamann

visitors in the galleries and looking at ways of viewing panoramic images and scrolls. Biography  Sigune Hamann is an artist and I focus on the moment when a common a reader in art and media practice at Camberwell goal directs crowds in a common movement, College of Arts. Her work encompasses photography both physical and psychological. and video in multi-disciplinary collaborations. In Tokyo I traced in film-strips the energy Projects include film-strips (Durham Art of many demonstrations that have increased Gallery 2013, ISEA, Istanbul Biennale 2011, since the Fukushima disaster in 2011. Kunsthalle Mainz 2008, Gallery of Photography, Through museum visits and conversations Dublin 2008, Harris Museum, Preston 2005); with curators in Tokyo and Kyoto I gained a wave (Wellcome Collections 2012), and video sense of the extraordinary explosion of narrative installations the walking up and down bit (BFI experiments in the 12th and 13th centuries in 2009) and Dinnerfor1 (British Council, Japan and was lucky to see several scrolls that are Transmediale Berlin 2005). Hamann graduated rarely exhibited. from the University of the Arts Berlin, before As in panoramic scrolls viewers can completing an MA (distinction) at the Royal experience an unrestricted continuous image College of Art, London with a DAAD scholarship plane in film-strip installations and online award. She initiated and curated the symposium projects (, Stillness and Movement for the Graduate School where they can choose moments in the narrative and Tate Modern in 2010. and the speed of viewing – a process of reading that becomes increasingly relevant with digital Research statement  In photographic filmdevelopments. strips, video loops, installations and online At a time of hyper-real photography and environments I explore the effects of time and enhanced focus and movement simulation perception on the construction of mental images. I create in counterpoint film-strip imagery using This encompasses hybrid media forms including an analogue photographic camera in the manner photography, video, sound and performative of a movie camera. A whole roll of 35mm film elements. With rapid technological developments is exposed in one rewinding movement while and the production of increasing numbers of I am moving in relation to the subject. images we are experiencing images now as events, grouped, layered, fragmented, and changing over Selected exhibitions time. My research and teaching involves methods 2013 iN tHe nAme Of. Solo exhibition. Durham: Art Gallery Durham of generating, processing and deconstructing 2013 Diorama (colour channels). Edition images. This includes the changing relationships launched with The Multiple Store of stillness and movement, narrative structures and direct address. A recent output  As part of my residencies at

the V&A and Tokyo Wonder Site I have been tracing the movement of crowds and testing how pictorial movement choreographs viewers in a physical and cognitive process in different architectural contexts. Working with the V&A East Asian and Theatre and Performance Departments I have been taking photographic film-strips of

2013 The Changing Perception of Images. CCW project in collaboration with the Wellcome Trust, London Selected awards 2014 Research residency, Tokyo Wonder Site, Japan 2014/15 Research residency, V&A, CEIR Award funded by Creative Works London


Film-strip installation, Henry Cole staircase, prototype 1, 2015



Yuko Kikuchi


the centre-periphery axis by means of practical workshops, conferences, publications and Biography  Dr Yuko Kikuchi was born in a website. The initiative is spearheaded by key Tokyo and educated in Japan, the USA and UK. publications in the Journal of Design History After completing a BA in English and American including ‘re: focus design−Design Histories and Literature, and an MA in American Studies, Design Studies in East Asia’ (3 part), 24–3, 24–4 she worked at the School of East Asian Studies, (2011), 25–1(2012), and the special issue: University of Sheffield as a Modern Japanese ‘Transnational Modern Design Histories in East Studies specialist. She joined UAL in 1994 to Asia’, 27–4 (2014). Complementing these important complete a PhD on the Mingei movement and milestones, I’m currently working on compiling is currently supervising research students and a Critical Reader of East Asian Design (2 vols) conducting research on postcolonial transnational that includes translation of historical key issues as a core member of TrAIN, in her capacity materials written in East Asian languages (funded as a specialist in design history and visual by the AHRC, the Metropolitan Center fo Far culture studies. Eastern Art Studies and TrAIN), and critical essays that capture microhistories of design and depict Research statement  As an art and design the local contemporary debates in East Asia, historian, I have pursued an investigation into written by leading East Asian design historians. modernities in transnational visual culture and design in East Asia, through my key publications My other research has focused on an exploration on the Japanese and transnational Mingei of interdependent transnational design history movement (Japanese Modernization and Mingei studies, which will culminate in a monograph Theory: Cultural Nationalism and Oriental ‘Russel Wright and Asia – Studies on the American Orientalism, 2004), as well as on modernities design aid and transnational design history in colonial Taiwan (Refracted Modernity: Visual during the Cold War’. With the help of a number Culture and Identity in Colonial Taiwan, 2007). of awards including the Rockefeller Archive I have been exploring various methodologies fellowship (2011), the Asia Research Institute Senior underpinning transnationalism, to enhance Visiting Fellowship at the National University our understanding of the diversity and syncretic of Singapore (2011), the British Academyaspects of visual cultures. My purpose is the ASEASUK ECAF fellowship at École française decolonisation of knowledge through presentation d'Extrême-Orient in Phnom Penh (2014–15) of the microhistories and intellectual ideas and the one-year Terra Foundation Senior from Asia, where the problematic legacies of Fellowship at the Smithsonian American Art imperialism, colonisation and the on-going Museum (2015–16), I have undertaken field Cold War are still very much present. and archival work in Japan, Cambodia, Thailand, Vietnam, Taiwan, Hong Kong and the USA A recent output  Through the joint project which, in addition to informing the forthcoming ‘Translating and Writing Modern Design Histories monograph, have resulted in numerous in East Asia for the Global World’ (AHRC, 2012– highly original publications. 14), I have been leading development of a new Selected exhibitions study framework ‘East Asia’ and ‘inter-Asia’ in 2013 Mingei Are you Here? London and New design history studies, by building networks York: Pace Gallery of design historians in East Asia. This longterm project aims to establish a new, inclusive Selected publications approach to design history studies that breaks 2015 ‘The Craft Debate at the Crossroads of the conventional discipline boundary that is Global Visual Culture: re-centring craft in fixed on Euroamerica, and takes us beyond


postmodern and postcolonial histories’, World Art (online) (http://www.tandfonline. com/doi/full/10.1080/21500894.2015.1029139#. VW77P-dflCQ) 2014 Yuko Kikuchi and Yunah Lee (eds), ‘Transnational Modern Design Histories in East Asia’, Special Issue of The Journal of Design History, 27–4 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 CraftDesign Movement’. In: Design History Japan. Issue 11, pp. 135–139 and pp. 140–149. Tokyo: Design History Workshop Japan

The poster of the lecture delivered as the Ishibashi visiting professor at Heidelberg University, July 2014


Selected conferences 2015 Invited speaker presenting ‘Recondisering craft from Japan’s Postcolonial Perspective’ for the conrerence ‘Reconsidering Craft as Pedagogy from Below’ held in Japipur, organised by the American Institute of Indian Studies, New Delhi and the International Institute for Asian Studies (IIAS), Leiden. ( 2014 Invited speaker presenting ‘Gurcharan Singh and the Transnational Mingei movement’ for the conference ‘India-Japan: Roads to the Modern’ at Delhi University. 2014 Invited speaker presenting ‘American Occupation and Cold War Japanism: Containment and Mixed Marriage in Design and Film’, for the public lecture series at Heidelberg University. 2014 ‘Modernity and Everydayness: Design under Japan’s Empire’ for the ‘1920–45 InterAsia design assimilation: Translations, Differentiations and Transmission’ conference at the Design Museum, London. ( =a0RD000000ACll0MAD&book=true) 2013 Russel Wright and Designing ‘Asian Modern’ in Vietnam during the Cold War’ World. History Association Symposium on Vietnam in World History. Hanoi: University of Social Sciences and Humanities, Vietnam National University 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 2015–16 Awarded the Terra Foundation Senior Fellow in American Art at the Smithsonian American Art Museum. 2015 Awarded grants from The Metropolitan Center fo Far Eastern Art Studies for translation of key primary materials. 2014 Awarded the British Academy-ASEASUK ECAF fellowship at École française d’Extrême-Orient in Phnom Penh. 2014 Appointed the Ishibashi Visiting Professor at Heidelberg University 2014–15 Appointed the convener for the 10th International Committee of Design History and Studies (ICDHS) Conference (Taipei, 2016) and a board member.

Jo Melvin Biography  My interest in artists’ and institutional archives and oral histories has been an ongoing preoccupation, subsequent to my MA in History and Theory of Modern Art at Chelsea 1993. I began interviewing artists on my Fine Art BA at Middlesex Poly during the 1980s, and have been immersed in collaborations emerging from these exchanges ever since. Currently investigating Christine Kozlov’s work an important US Conceptual Artist, leading to an exhibition and publication in collaboration with the Henry Moore Institute, Leeds, in 2015–16. Continuing to work on the Barry Flanagan catalogue raisonné (of all three dimensional works including films, performances and happenings), to be published by Modern Art Press, Yale. 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 beginning in the 1960s and 1970s. This knowledge is derived from immersion in a variety of archival sources; these began with my collaboration with Peter Townsend, editor of Studio International magazine, 1965–75 and founder editor of Art Monthly, 1976. My research originated in an exploration of the changing face of art criticism, and role of Studio International magazine, in presenting emerging work, and specifically Conceptual Art, to the British art public during this time, when Townsend was regarded by many artists and dealers passing through London, including Lawrence Weiner, Carl Andre, Daniel Buren and Marcel Broodthaers. My integration into writing of the interviews I have conducted, draws together different 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 – what could be characterised as the cracks between memory and documentation. I also intend to give a focus to the specificity of artistic events, the back-stories then lead to decisions



Installation of palindromes, exhibition at flat time house, showing Barry Flanagan 2003 Untitled (head)

and collaborations and situations, that might otherwise be overlooked and/or forgotten. A recent output  The exhibition Five Issues of

Studio International was held at Raven Row London (February – May 2015). I devised and curated the exhibition, which was accompanied by a publication and a film. The exhibition was predicated on my selection of five magazines that investigated the editor, Peter Townsend’s commitment to innovations in sculptural practice. As the magazine’s editor from the mid1960s to the mid-1970s, Townsend oversaw its transformation from a mainstream Britaincentric publication into a vanguard journal, chronicling some of the most radical artistic endeavours in the UK and internationally. The five issues – April 1966, May 1968, September 1969, July/August 1970 and July/ August 1972 – focus on the role of sculpture, which over this period was a vector for profound change in art: from post-constructivism and kineticism, through the abstract formalism at St Martins School of Art in London, to postminimalism and conceptualism.

As a socialist, Townsend saw in sculpture a privileged medium to effect social change. The exhibition revisited the role of sculpture in the definition of public space, in a period when it became the flashpoint for political and social contestation. In this context, the pages of Studio International themselves played a role in shaping the debates about the limits and visibility of contemporary art. Included were works by Keith Arnatt, Charles Biederman, Daniel Buren, Robyn Denny, Jan Dibbets, John Ernest, Garth Evans, Barry Flanagan, Naum Gabo, Anthony Hill, John Latham, Richard Long, Kenneth Martin, Mary Martin, Michelangelo Pistoletto, Emilio Prini, Gerry Schum, William Tucker, William Turnbull, Nicolas Schöffer, Bernard Schöttlander, Lawrence Weiner and Gillian Wise, loaned from public and private collections. Selected exhibitions 2015 Five Issues of Studio International, Raven Row, London 2015 Palindromes, Flat Time House, London 2014 Jeff Gibbons: In Signific Landscapes, Take Five, Norwich 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 2013–14 Hand and Foot, JocJonJosh. Curator. Sion, Switerzerland: Valaris Musée De l’Art Selected publications 2015 Five Issues of Studio International, Raven Row, London 2015 Palindromes, Flat Time House, London 2014 ‘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 ‘John Hoyland’. Dictionary of National Biography. Oxford: Oxford University Press 2013 ‘The naked and native dignity of man’. JocJonJosch: Hand in Foot. Sion, Switerzerland: Valaris Musée De l’Art Selected lectures and workshops 2015 Five Issues of Studio International curators talks, Raven Row London 2015 Ethical responsibilities in the Archive, Keynote, Hidden in the Archive symposium, organised by Jane Holt, LSF 2015 Jo Melvin in conversation with Michael Bracewell, Keynote in The Copyist, ICA Symposium organised by Sarah Dobai in collaboration with CCW Graduate school 2015 Game Keepers or Poachers, Association of Art Historians, pub lecture, Camden 2014 Art & Criticality, ICA symposium 2014 organised with Chris Smith in conjunction with CCW Graduate School 2014 When Action Speaks Louder than Words: Productive Exchanges between Seth Siegelaub and Peter Townsend in ‘Studio International’. Institute National de l’Histoire De L’Art, Paris 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 awards | appointments | acquisitions 2015 Terra Foundation International Curatorial Award 2015 Editorial Chair Seth Siegelaub, Source Book, publisher Walter König 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


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 and has featured at 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 Retrospective’ (Kettle’s Yard). In 2012 he was appointed Visiting Professor at Nagoya University of Arts, Japan. Research statement  I am a painter and

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.


on one artists work, the Hungarian painter Simon Hantai. This edition grew out of a symposium that I convened with Mick Finch from CSM at the French Institute in London, on the legacy of Simon Hantai’s work. Hantai was based in Paris, and his position is intriguing within the discourse of modernist painting and the various international responses to it. Here again, one of the articles in the Journal was a conversation that I set up to investigate a specific aspect of Hantai’s influence. In this instance I talked in detail with the French artist Daniel Buren about how his friendship and knowledge of Hantai’s painting affected his own practice and development. Selected exhibitions SOLO SHOWS 2014 Strict and Lax London: ArtFirst 2014 And Then Again. London: noshowspace GROUP SHOWS 2015 Tutti Fruitti London; Turps Gallery 2015 Doppelgänger London: NoFormat Gallery 2014 Here there and Everywhere London: Horatio Jr 2014 Crossing Line. Leeds: &Model’s Selected publications 2014 Journal for Contemporary Painting. Issue 1

A recent output  This current academic year

saw the launch of the Journal for Contemporary Painting at the ICA in London. The Journal, of which I am one of the founding editors, is an international peer reviewed publication that aims to address and capture debates and discussion around contemporary painting. This year, two issues of the journal have been published – the first was focussed on “Painting and Cinema” and included articles from academics, art-historians, and artists that looked at how these two different modes of expression could inspire each other. Within this issue I contributed a short discussion with Donald Smith, the curator of CHELSEA Space, on the exhibition he curated Almost Bliss, which addressed the sketchbook and ephemera around Dereck Jarman’s film Blue. The second issue of the Journal focused solely

Journal of Contempoary Painting, issue 1. 1 April 2015, Intellect ISSN 2052-6695



Athanasios Velios Biography  Thanasis 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 Reader in Digital Documentation at the Ligatus research centre in CCW. He is also the webmaster 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 to archiving and conservation and has taught digital documentation in the UK and Greece. Research statement  My research focuses on

methods of documentation for archives and museum collections with a specific interest in conservation and bookbinding. I have developed a number of schemas for archive and collection surveys. I am also interested in the use of structured data for documenting art-related resources, and their expressions as Linked Open Data. I work with ontologies and thesauri including the CIDOC-CRM and the Getty vocabularies, and I am a member of the CIDOCCRM Special Interest Group. 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 am also contributing to the development of the Drupal content management system. A recent output  Artivity

The documentation of art practice is a frequently discussed subject. Researchers have proved that there is value in capturing the tacit dimension of art practice as well as the development of the concepts behind the work, with the description of the technique often being important in the process. More recent discussions have indicated that there is also value in capturing contextual information about art practice, especially in relation to documenting practice-based research.

At the same time much of the art-related research and development takes place on a computer desktop. Artivity is a project funded by JISC which aims to produce a toolkit for capturing contextual data and technique-related data produced by artists and designers while working on a computer. This data may include browsing history, email exchange and file editing statistics as well as choice and parameters of specific tools in software applications. Artivity is based on the idea of the Semantic Desktop which is a method for tracking user activity on a computer. Its various implementations so far include mostly software from the open source communities (such as the GNOME Activity Journal and the Zeitgeist framework running on GNU/Linux). Artivity extends Activity Journal to capture data about the way designers and artists use popular creative applications such as Inkscape, GIMP and Krita. Being completely transparent and automatic, Artivity does not affect the artistic process as it requires no input from the artist. Collected data over a period of time can be used as part of evidence for design historians and art historians who wish to support their hypotheses on real data. It will also be used as a way to document digital techniques during creative production. Finally, the captured data will be the basis of a self-archiving tool for artists who consider documentation important in their practice. Selected publications 2015 ‘Online event-based conservation documentation: A case study from the IIC website’, Studies in Conservation. doi: 10.1179/2047058415Y.0000000002. 2013 ‘Archive As Event: Creative Archiving for John Latham’. In:Vaknin, J., Stuckey, K., and Lane, V. (eds) All this stuff: archiving the artist. London: Libri Publishing, pp.109–122. 2012 Velios and Pickwoad, N. ‘The digitisation of bookbindings’. In:Terras, M. and Nelson, B. (eds) Digitizing Medieval and Early Modern Material Culture. Arizona: Iter (New


Technologies in Medieval and Renaissance Studies). Selected conferences 2014 Velios, A. Beyond databases: Linked open data for bookbinding descriptions, St Pölten, Austria: Men and Books 2014 Martin, A., Pickwoad N., and Velios A. Balancing the books at the Sir John Soane’s Museum in London: a new library management and conservation survey tool for historic libraries. Care and Conservation of Manuscripts 15. Copenhagen: University of Copenhagen


2013 Campagnolo, A. and Velios, A. Bindings of uncertainty. Visualizing uncertain and imprecise data in automatically generated bookbinding structure diagrams, in. Digital Humanities 2013, the 24th joint international conference of the Association for Literary and Linguistic Computing and Association for Computers and the Humanities and the 5th joint international conference of the Alliance of Digital Humanities Organisations, Nebraska: University of Nebraska-Lincoln (NE): Center for Digital Research in the Humanities, pp.135–138

Screenshots from Artivity Explorer, an event browser for creative practice desktops on Linux, developed by Semiodesk

Research Centres


Research Centres

Research Centre for Transnational Art, Identity and Nation – TrAIN

Members contribute to TrAIN’s activities by completing group and individual research projects and through the supervision of relevant Director  Professor Paul Goodwin postgraduate study. Issues and debates arising Centre Members  Dr Michael Asbury, from research activities are disseminated by Professor Oriana Baddeley, Professor Sonia TrAIN conferences, exhibitions and publications. Boyce, Professor Deborah Cherry, Throughout the academic year TrAIN organises Professor Jane Collins, Dr David Dibosa, public events, such as the TrAIN Open Series, Professor Paul Goodwin, Dr Yuko Kikuchi, where artists, theorists and curators present Pratap Rughani, Dr Lucy Steeds, Professor Carol their work and ideas. There are held at Chelsea Tulloch and Professor Toshio Watanabe College of Arts, Central St. Martins and London Website College of Communication. More information Twitter  @TrAINCentre about the Centre’s activities, core members and Facebook visiting scholars, is available at The Centre for Transnational Art, Identity and Key partnerships include the TrAIN/ Nation (TrAIN) at The University of the Arts Gasworks Artists’ Residency, an international London Research Centre is a forum for historical, residency which raises specific questions theoretical and practice-based research in for individual artists and wider issues regarding architecture, art, communication, craft and how both local and international contexts design. are negotiated in practice. TrAIN also has In an increasingly complex period of partnerships with the V&A, Iniva, Autograph ABP, globalisation, established certainties about the and Tate. nature of culture, tradition and authenticity are being constantly questioned. The movement of Current TrAIN research projects include: peoples and artefacts is breaking down and Black Artists and Modernism (BAM) a three-year producing new identities outside and beyond research project led by University of the Arts those of the nation state. It is no longer easy to London (UAL) in partnership with Middlesex define the nature of the local and the interUniversity (AHRC). national, and many cultural interactions now UK-Japan lecture series ‘Tokyo Futures, operate on the level of the transnational. 1868–2020’ (Toshiba International Foundation) TrAIN is a dynamic research forum for Translating and Writing Modern Design Histories internationally recognised scholars and in East Asia for the Global World (AHRC) practitioners inside and outside the University Research on the Art of Maud Sulter (Arts Council) of the Arts London. TrAIN offers research Afterlives of Monuments (British Academy/Nehru excellence and leadership through its coherent Centre High Commission of India) programme of events and projects, and it brings together research in transnational issues in Previous TrAIN projects include: art and design, both globally and locally. Crucial Forgotten Japonisme, the Taste for Japanese Art in to the Centre’s activities is a consideration Britain and the USA, 1920s–1950s (AHRC) of the impact of identity and nation on the Dress and the African Diaspora (AHRC) production and consumption of artworks and British Empire and Design; Ruskin in Japan, 1890– artefacts in this new global context. 1940, Nature for Art, Art for Life (winner of Japan Transnational relationships are explored Festival Award and Gold Medal, Gesner Award, through crossings that traverse different media Tokyo) including fine art, design, craft, curation, Other Modernities; Refracted Colonial performance and popular art forms. Modernities: Identities in Taiwanese Art and

Research Centres

Design (Chiang Ching-kuo Foundation) Modernity and National Identity in Art: India, Japan and Mexico, 1860s–1940s (in collaboration with the University of Sussex, AHRB) Meeting Margins, Transnational Art in Latin America and Europe, 1950–1978 (in collaboration with the University of Essex, AHRC) Performing Romani Identities: Strategy and Critique (AHRC) Russel Wright and Asia: Inter-Asia Modernities and Transnational Design History During the Cold War (British Academy/Leverhulme, Terra Foundation of American Art) Birth of Cool: Style Narratives of the African Diaspora (British Council)

When the oil runs out people will need horses. Performing Romani Identity Strategy and Critique, an International Seminar, Autograph ABP, 25 June 2015. Photo credit: Pratap Rughani



Research Centres


Digital tools

Director  Professor Nicholas Pickwoad Deputy Director  Dr Athanasios Velios Website Twitter  @Ligatus_UAL

Designing digital tools and resources that transform traditional methods for studying artefacts and records in the arts and humanities by offering insights in related context and processes.

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.

Heritage and observation

Ligatus is working with different collections and institutions, using the expertise and the research tools that it has developed to enhance research, conservation and archival work. Saint Catherine’s Monastery

Research communities

Ligatus works with heritage institutions and professional organisations around the world. Our expertise supports work in a number of areas: Bookbinding history

Using the study of bookbinding as a tool to enhance our understanding of the history of the book and to inform better practice in book and library conservation.

Ligatus undertook the task of assessing the condition of the unique collection of early manuscripts and printed books in the library of the monastery of Saint Catherine on Mount Sinai, Egypt, the oldest active Christian monastery in the world. Ligatus has also designed a new system of boxing for the manuscripts and a new conservation workshop, and is advising on further conservation work. The Sir John Soane’s Museum Library

Bookbinding terminology

Creating the Language of Bindings, thesaurus to allow accurate, detailed and consistent descriptions of historical bindings.

Ligatus carried out a complete review of the conservation and storage of the books in Soane’s library, as the first stage in its conservation programme.

Bookbinding description

John Latham Archive

Compiling Coming to Terms, a set of guidelines for the description of historical bindings.

Ligatus is working with the John Latham Foundation on the John Latham Archive. The archive is the first implementation of Creative Archiving. It has been digitised and is available for study online.

Decorated Paper

Creating an identification tool and a resource for recording and researching decorated paper. Digital documentation

Using a variety of methods to enable the conceptual linking of heritage archives based on semantic technologies.

International Institute for Conservation of Historic and Artistic Works (IIC)

Ligatus is working with the IIC on the continuous development and maintenance of the Institute’s website and has developed a classification scheme for its content.


Developing methods to enable the conceptual linking of heritage archives based on semantic technologies.

Roussen Collection

Ligatus has been closely involved in surveying, rehousing and digitising the glass plate

Research Centres

negatives and photographic prints of Fred Boissonnas, as well as preparing an exhibition with items from the collection with an accompanying publication. Lambeth Palace Library

Ligatus has been working with the students from the Camberwell MA Conservation course to record historic bookbindings in the library of the Archbishops of Canterbury at Lambeth. Education and Training

As well as supervising PhD students, Ligatus is involved in running training courses and summer schools worldwide. PhD and MPhil students

Original research has been produced by both PhD and MPhil students under the auspices of Ligatus. Our students have been successful in obtaining funding from a range of sources. Past students:

• Georgios Boudalis (PhD, 2004): PostByzantine bookbinding between the late 15th and the early 18th century. (SCF) • Nikolaos Sarris (PhD, 2010): Classification of finishing tools in Greek bookbinding. (AHRC) • Teresa Zammit Luppi (PhD, 2011): A study of the binding structures and materials of illuminated choral books. • Heather Ravenberg (MPhil, 2012): A data model to describe book conservation treatment activity. (SCF) • Martha Romero (PhD, 2014): Limp, lacedcase bindings in parchment on sixteenthcentury Mexican printed books. (CONACYT) • Alberto Campagnolo (PhD, 2015): Transforming Structured Descriptions to Visual Representations. (AHRC) Current students:

• Andrew Megaw (PhD): The photographically illustrated book. • Stavroula Rapti (PhD): Chelating agents for removing iron corrosion products from dry composite objects. (NSFR)


• Masoumeh Madanipour (MPhil/PhD): Persian bookbinding. • Anna Gialdini (PhD): ‘Alla Greca’. A Material, Historical and Anthropological Analysis of Greek-style Bookbindings in Renaissance Venice (AHRC) • Jennifer Murray (MPhil/PhD): Manuscript Fragments and the bindings from which they were removed. (AHRC/TECHNE) • Maria Theodoraki (MPhil/PhD): Custodianship ethics and institutional display of art. • Aurelie Martin (MPhil/PhD): Navigating through Bindings: Study of the Bookbindings of Ship’s Logbooks from European Maritime Empires in Early Modern Europe. (AHRC/ TECHNE) Summer School

Ligatus runs Summer Schools on historic bookbindings and their description in different historic collections each year. Now in its 10th year, the Summer School has seen many students become members of the Ligatus community. We have run courses in Ljubljana, Osijek, Paris, Patmos, Thessaloniki, Uppsala, Venice, Volos and Wolfen-büttel, in partnership with major libraries in those cities, including the Biblioteca Marciana, the Bibliothèque de l’Arsenal, the Herzog August Bibliothek, the Library of the Monastery of St John on Patmos, the National Library of Slovenia, and the Uppsala Universitetsbibliotek. Training Courses

Ligatus runs many specialist courses for librarians and conservators in collaboration with such organisations as CILIP, CERL and Lambeth Palace Library.


Research Centres

Textiles Environment Design

The Textile Environment Design (TED) research group at Chelsea was established in 1996 and is a collective of practicing designers, educators and action researchers. The group focuses on sustainable design strategy, with the aim of developing the role that the designer can play in reducing impact on the environment and providing tools for design-centred solutions. THE TEN are a set of sustainable design strategies developed in response to the increasingly harsh environmental impacts of the textile industry, using this well-quoted reference as a provocation for action, ‘Eighty percent of a product’s environmental and economic costs (are) committed by the final design stage before production begins’ (Graedel et al, 1995:17). TED uses its portfolio of international workshops and lectures to promote THE TEN as an adaptable and highly flexible approach to sustainability in the textiles and fashion industry, increasingly being applied to a wide range of industries including interior, architecture and product design. THE TEN strategies also function as a framework for large-scale companies and small-to mediumenterprises (SME’s) to be pro-active and create real change in design and production. Through TEN design-thinking workshops, the strategies can be a catalyst for companies and individuals to apply sustainable thinking to decisions that drive innovation and new ways of doing business. Recent consultancies include H&M, Zero Waste Scotland, Ellen McArthur Foundation, Fashion Revolution, Stanhope Plc, PPR Home (now Kering), The Continuity Company (TCC Global), the Sustainable Fashion Academy (SFA), Sloggi, Puma, VF Corporation and Gucci. Between 2011–2015, 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. As part of the project

deliverables, TED launched the open-innovation platform which currently features an online exhibition of new prototypes developed during the project in response to research findings, and also hosts the final project report. The program also included a training scheme for design staff at H&M, a PhD scholarship in Social Textiles and the design of elective courses as part of the Guest Professorships at Konstfack University of the Arts, Crafts and Design in Stockholm. In 2015, TED has been awarded two major funding grants in the area of design for cyclability: the second phase of the MISTRA Future Fashion consortium between 2015–2019 will include research into short and long life cycles for future fashion; participation in the Horizon 2020 EU project ‘Trash 2 Cash’ will include creating bridges between science and industry partners and guiding prototype design for automotive, fashion and interiors products. Find out more at Group members Rebecca Earley (Professor of Sustainable Textile

and Fashion Design, Director of Textiles Future Research Centre (TFRC)) Becky’s research work and creative practice has sought to develop strategies – THE TEN – for the designer to employ in seeking to reduce the environmental impact of textile production, consumption and disposal. Becky’s core approach is based on learning through practice, as in her Top 100 and Worn Again projects, both started as an exploration of textiles upcycling. Dr Kate Goldsworthy (TED Senior Research Fellow, lead researcher at TFRC) Kate became a permanent member of the TED team after completing her PhD in 2012, which 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. Kay Politowicz (Professor Emeritus of Textile

Research Centres

Design) Kay 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.


2011–2015. Her PhD research, titled ‘Material Activism: A practice-led enquiry into the role of design in the development of materials and its impact on their cyclability’, is funded by the London Doctoral Design Centre (LDoc) and ex­ plores an interdisciplinary approach for design research with technical and scientific processes.

Clara Vuletich (MISTRA PhD Candidate) Clara

was the Research Assistant at TED between 2006–2011, and during this period she became increasingly aware of the urgency with which we needed to address fundamentals of the textile and fashion industries – one that designers are implicitly involved in. She is the funded MISTRA Future Fashion student with TED during the first phase of the research consortium between 2011–2015. Miriam Ribul, (LDoc PhD Candidate) Miriam

has worked with TED as the Research Assistant on the MISTRA Future Fashion project from

TED Textile Toolbox exhibit Redressing Activism 2014. Photography by Phillip Koll

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 (Course Director, BA Textile Design) • Isabel Dodd (Senior Lecturer, BA Textile Design)

CCW Graduate School Directory 2015/16 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 & Ellie Pitkin Design  Atelier Dreibholz, Paulus M. Dreibholz and Felicitas Grabner Published by  CCW Graduate School 16 John Islip, London, SW1P 4JU This title was published as part of the Bright series of publications produced by CCW I SB N : 9 7 8 - 1-90 8 3 3 9 -14-0 © 2015 CCW Graduate School and contributors

Graduate School Directory 2015/16

ISBN 978-1-908339-14-0

ISBN 978-1-908339-14-0

9 781908 339140


Graduate School Directory 2015/16

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