41,745 research outputs found

    Leave blank (2009/2010)

    Get PDF
    Leave blank (2009/2010

    Misdirect movies

    Get PDF
    Misdirect Movies is a curated touring exhibition exploring new possibilities of collage, employing material gleaned from cinema. With access to digital formats, artists are now able to appropriate films to create different and innovative approaches to collage. This builds upon research disseminated in artworks such as The Jump and Frames and the curated exhibition, Unspooling: Artists & Cinema The selected artists explore these ideas in diverse ways to work with narrative through different media. The exhibition will be supplemented by a catalogue, new artwork commissions, a series of artist/curator talks, film screenings, workshops and a website. The idea of the exhibition is to make us look anew at the familiarity of artist's use of collage, moving image and the cinema space. The exhibition includes work by the curators, alongside five artists from the UK, Germany and USA- Elizabeth McAlpine, Dave Griffiths, Cathy Lomax, Rosa Barba and David Reed. The selected artists work across different mediums and have a sustained engagement with the subject of the exhibition. There will be three new commissions launching at touring venues from the selected artists. The exhibition tours from Royal Standard, Liverpool (16-31 March 2013) and tours to Standpoint Gallery, London (5 July- 17 August 2013), Greyfriars, Lincoln (4-26 October 2013) and Meter Room, Coventry (8 November - 1 December 2013). The catalogue is published by Cornerhouse Publications and feature essays by Andrew Bracey, Dr. John Rimmer, Dr. Jaimie Baron, Dr. Maria Walsh and an interview between Dr. Sam George and Sir Christopher Frayling. The catalogue essays reflect the interdisciplinary nature of the exhibition's curatorial focus and feature contributions from visual arts, English literature and film studies backgrounds. The research is further disseminated by talks, critical essays on the website and introduced screenings of artist's films

    ROTOĐŻ Review

    Get PDF
    The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now? As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond. A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways

    The Substance of Gloup

    Get PDF
    An essay on Gloup, the Gloucestershire group of concrete poets, including dom sylvester houedard (dsh), Ken Cox, John Furnival, concentrating in particular on the relationship between Cox and houedard and looking at the implications of this radical legacy for contemporary thought and practice. INDEX|press is a small artist run magazine and gallery programme based in Stroud with a radical international programme

    Narrative approaches to design multi-screen augmented reality experiences

    Get PDF
    This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830’s, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill

    ‘Engage the World’: examining conflicts of engagement in public museums

    Get PDF
    Public engagement has become a central theme in the mission statements of many cultural institutions, and in scholarly research into museums and heritage. Engagement has emerged as the go-to-it-word for generating, improving or repairing relations between museums and society at large. But engagement is frequently an unexamined term that might embed assumptions and ignore power relationships. This article describes and examines the implications of conflicting and misleading uses of ‘engagement’ in relation to institutional dealings with contested questions about culture and heritage. It considers the development of an exhibition on the Dead Sea Scrolls by the Royal Ontario Museum, Toronto in 2009 within the new institutional goal to ‘Engage the World’. The chapter analyses the motivations, processes and decisions deployed by management and staff to ‘Engage the World’, and the degree to which the museum was able to re-think its strategies of public engagement, especially in relation to subjects,issues and publics that were more controversial in nature

    'Breaking the glass': preserving social history in virtual environments

    Get PDF
    New media technologies play an important role in the evolution of our society. Traditional museums and heritage sites have evolved from the ‘cabinets of curiosity’ that focused mainly on the authority of the voice organising content, to the places that offer interactivity as a means to experience historical and cultural events of the past. They attempt to break down the division between visitors and historical artefacts, employing modern technologies that allow the audience to perceive a range of perspectives of the historical event. In this paper, we discuss virtual reconstruction and interactive storytelling techniques as a research methodology and educational and presentation practices for cultural heritage sites. We present the Narrating the Past project as a case study, in order to illustrate recent changes in the preservation of social history and guided tourist trails that aim to make the visitor’s experience more than just an architectural walk through

    Un-framing: towards repeated acts of deferral and fracture in fine art practice, production & consumption

    Get PDF
    This paper considers the repeated blurring of the distinction between artwork and display setting, between the ‘pictured space’ and that of the spectator in my practice as an artist. Examples of ‘visual disturbances’ of existing conventions of art production, reception and consumption, through processes of repeated deferral and fracture are discussed. The paper also explores problem finding and delayed closure and reflects on the following issues arising from the practice: • The temporary suspension or ‘short circuit’ of conventions of studio methodology and practice. • The conceptualisation of a ‘ruined, pictured space’ and repeated deferral of ‘outcome’. • The disembodiment of divisions between: object and space; literal concealment and project fantasy; settled comfort and lurking dread (Melville, H. in Vidler, A. 1999, p.57). • The problematisation of perceived physical and conceptual boundaries between art & ‘life’. • The production and consumption of a body of work that speaks to notions ‘ruin’ and catastrophe. The paper shows various attempts to engage with (work in) ‘that place’ described by Buren and Phillipson; to disturb the conventions of production and consumption; to problematise the notion of the art object as a commodity; to work towards a ‘delayed gaze’

    Road: artists and the stop the M11 link road campaign 1984 - 1994

    Full text link
    The project 'Road' is an archive of text, images and oral recordings that document the living history of the 'No M11 Link Road' campaign in East London (Leyton, Leytonstone and Wanstead) from 1984 to 1995, and the people that lived in and visited the area. Road: Acme Artists and the Stop the M11 Link Road Campaign, 1984 – 1994, celebrates and preserves the experiences and thoughts of artists, protesters and the community that lived and worked on the route of the M11 link road
    • …
    corecore