Bright 4: Graduate School Directory 2010/11 by CCW Research Events

Brig h t 4

Graduate School Directory 2010/11

Br ig ht 4

Graduate School Directory 2010/11

CCW

camberwell Chelsea wimbledon

Contents

A Community of Practice

100

Research degrees

Research at Camberwell,

102

MPhil / PhD

Chelsea and Wimbledon

103

A collaborative endeavour

105

Current Research Degree

Professors

Baddeley Oriana

Supervisors

Coldwell Paul

108

Taught Postgraduate Courses

Cummings Neil

110

Taught postgraduate courses

Elwes Catherine

Farthing Stephen

in CCW

Garcia David

112

Postgraduate Diploma Conservation

Pickwoad Nicholas

113

MA Visual Arts (Book Arts)

Politowicz Kay

114

Ma Visual Arts (Designer-Maker)

Scrivener Stephen

115

MA Visual Arts (Digital Arts)

(Camberwell)

Wainwright Chris

116

MA Visual Arts (Digital Arts Online)

Watanabe Toshio

117

MA Visual Arts (Fine Art)

118

Ma Visual Arts (Graphic Design)

Readers

119

MA Visual Arts (Illustration)

Asbury Michael

120

Ma Visual Arts (Printmaking)

Baseman Jordan

121

MA Conservation (Chelsea)

Biswas Sutapa

Collins Jane

122

POSTGRADUATE DIPLOMA FINE ART

Cross David

123

MA Fine Art

Earley Rebecca

124

Ma Graphic Design Communication

Fairnington Mark

125

MA INTERIOR & SPATIAL DESIGN

Faure Walker James

126

Ma Textile Design

Fortnum Rebecca

127

MA Curating

Kikuchi Yuko

128

Ma Art Theory

Newman Hayley

(Wimbledon)

Pavelka Michael

129

MA Fine Art

Quinn Malcolm

130

MA VISUAL LANGUAGE OF PERFORMACE

Tulloch Carol

131

MRes (Masters of Research)

Research Centres

132

Appendix

Ligatus

134

HOW TO APPLY and

TrAIN

ENTRY REQUIREMENTS 135

Contact details

A Community of Practice

Professor Chris Wainwright, Head of Colleges Camberwell, Chelsea, wimbledon

I would like to take the opportunity to introduce you to this publication marking the beginning of the second year of the Graduate School here at Camberwell, Chelsea and Wimbledon colleges. It is the fourth in our series of Bright publications that acts as one of the ways of capturing and communicating key debates and the diversity of work taking place in the Graduate School.

agendas that transcend subject specific concerns. In this respect we have identified the four areas of: Social Engagement, Environment, Identities and Technologies as themes that will be explored through our Graduate School events programme and at those points during the year when we will be bringing together our research communities and external partners in focused projects and activities.

The academic and structural alliance between Camberwell, Chelsea and Wimbledon colleges (CCW), has created an opportunity for new and innovative developments in the University of the Arts London and more broadly within the sphere of arts education. The creation of the CCW Graduate School reflects an academic vision that is predicated on profiling and celebrating the conditions and ethos that characterise these three specialist art colleges. The rationale of the Graduate School has been founded upon the reputations and strong traditions in all three colleges for a well established, high quality, undergraduate and postgraduate provision and mature research cultures that are equally comfortable and experienced in supporting practice led and theoretical based research in art and design disciplines.

These two features of the Graduate School form the basis for a community of practice and a means of providing an opportunity for individual and group work that is informed by a rigorous critical framework that sets creative practice and enquiry in a broader social, cultural and economic context. Consequently it is our aim to engender a relationship to urgent issues of our time and highlight the need to explore innovative solutions to address the way we, and others, enact our futures.

The Graduate School is the home of our research degree and taught post足 graduate students, professors, readers and fellows and an equally impressive group of full time, part time and visiting tutors and other research super足 visors, as well as established research centres, and research networks. Central to the success of the Graduate School is the quality of its research provision, the calibre of staff and students and the existence of real and sustainable partnerships and collaborative arrangements with external institutions, organisations and key individuals in the cultural sector and beyond. There are two key aspects of the Graduate School that define its distinctive足 ness: the first is a commitment to create and maintain a direct relationship between research focused activity and teaching with a requirement that all research staff, our professors, readers and fellows in particular, play an active role in teaching and supervision and that their research forms a crucial aspect of our student learning experience. The second is the commitment to providing a series of overarching thematic reference points that form a catalyst for cross disciplinary exchange and collaboration and a means of responding to broader social and cultural

Research at Camberwell, Chelsea and Wimbledon

Research at Camberwell, Chelsea and WimbledoN

Professor Oriana Baddeley, Associate Dean of Research

Through the combined work of the many talented and dedicated researchers and support teams within CCW we are able to offer an exciting and rigorous experience for our graduate students and staff alike. One of the most important functions of the Graduate School is to facilitate greater communication, focus and debate of key issues across the communities within the three colleges. Our research activities are well established, diverse, specialist and are grounded in the broad portfolio of art and design subjects represented by our taught course programmes. They frequently 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, Theatre and Performance are developed and interrogated through a focused research approach of contemporary relevance that leads to tangible outcomes and impact. The Graduate School programme along with the activities of research centres and networks, hosted by CCW provide a rich calendar of events to inform and enhance the broader course and college based activities. This echoes our commitment to ensuring that our individual and group research activity has a direct impact within the colleges as well as externally. We are particularly interested in research proposals that address individually, collectively or in tandem, the four current Graduate School themes of Social Engagement, Environment, Identities and Technologies. The identification of a number of key thematic lines of enquiry is primarily intended to identify a context over and above individual research interests where there may be some common ground and a space for cross disciplinary dialogue. The themes also reflect a growing collective awareness amongst our research communities for identifying some of the more urgent social, political, economic and cultural agendas of our time and addressing them through innovative and creative responses. In addition to hosting the University of the Arts London research centres, TrAIN and Ligatus (described separately in the Directory), CCW supports and hosts a number of research groups and networks that form a vital part of the research environment. These include: > The interface of new technologies and creative practice. (www.faderesearch.com) > The generative languages of drawing and the material procedures of drawing as a tool for the realisation of ideas, supported through the

Drawing Research Network. (http://cfd.wimbledon.ac.uk) > Textiles research and designer-centred solutions that have a reduced impact on the environment. (www.tedresearch.net) > Critical fine art practice and the exploring of new models for creative practice. (www.criticalpracticechelsea.org) We are also particularly interested in PhD research proposals relating to our growing work in the area of theatre, particularly the investigation and redefinition of the limits of performance, costume design and scenographic practice. A significant and distinctive aspect of the CCW Graduate School is the range and quality of its external partnerships and networks with the cultural industries, organisations and institutions in London, the UK and Internationally. Many of these relationships have been built up over the years by the individual colleges and have resulted in a number of research projects, staff and student exchanges and funding opportunities. The following list is by no means definitive, as it does not include the large number of important partnerships that exist in relation to more time specific individual research projects and research degree programmes of study, but we currently have strong links with a number of key institutions and organisations including: The Barbican Centre, London, UK; Cape Farewell, London, UK; Central Academy of Fine Arts, Beijing, China; Columbia College, Chicago, USA; European League of Institutes of the Arts, The Netherlands; EWAH, Womans University, Seoul, South Korea; The National Theatre, London, UK; Royal Melbourne Institute of Technology, Melbourne, Australia; The Saint Catherine Foundation, UK; Southbank Centre, London, UK; South London Gallery, UK; Tate Britain, London, UK; Victoria and Albert Museum, London, UK. The University of the Arts London website (www.research.arts.ac.uk) also provides information and contact with fellow researchers within the University and has more information on its university wide research centres and networks as well as those which are hosted by Camberwell, Chelsea and Wimbledon. In many cases research activities form part of a wider network across the Universityâ&#x20AC;&#x2122;s research centres and units and many involve external partnerships.

Professors

Baddeley Oriana

Coldwell Paul

Cummings Neil

Elwes Catherine

Farthing Stephen

Garcia David

Pickwoad Nicholas

Politowicz Kay

Scrivener Stephen

Wainwright Chris

Watanabe Toshio

Baddeley Oriana

Professor

Biography Professor Baddeley is Associate Dean of Research at CCW and Deputy-Director of the research centre for Transnational Art, Identity and Nation (T rAIN ). She studied History and Theory of Art at the University of Essex. Her doctoral subject, researching the historiography of definitions of ‘art’ in relation to Ancient Mexico, formed the basis for work on the 1992 Hayward exhibition The Art of Ancient Mexico. She has written extensively on contemporary Latin American art, including Drawing the Line: Art and Cultural Identity in Contemporary Latin America (Verso 1989, co-author Valerie Fraser) and collaborated with Gerardo Mosquera to produce Beyond the Fantastic: Art Criticism from Contemporary Latin America (inIVA /MIT 1996). With Toshio Watanabe and Partha Mitter, (2001–05), she worked on a major AHRC funded project ‘Nation, Identity and Modernity: Visual Culture of India, Japan and Mexico, 1860s–1940’. Arising from this project she contributed to the Victoria & Albert Museum’s Art Deco (2003) looking at the influence of ideas of Mexican culture on modern design. Other key publications include an essay on con temporary responses to Frida Kahlo in the catalogue to the Tate Modern exhibition 2005, for which she organised a major international conference on related themes. She is on the International Advisory Committee of the University of Essex Collection of Latin American Art, the editorial board of Art History, a Trustee of the St Catherine Foundation and the Laura Ashley Foundation. Research Stat e m e n t I am an art historian and cultural commentator working to understand the ways that history and identity intersect with practice in art and design. As a co-founder of the University of the Arts London research centre for Transnational Art, Identity and Nation (T rAIN –

www.transnational.org.uk) my research is undertaken within the context of globalisation, identity studies and contemporary art practice. My earlier doctoral research grew out of attempt ing to understand the values and meanings of the ancient cultures of the Americas and the ways colonisation and the discourses of postcolonialism had impacted on the interpretation of those cultures. With a focus on Mexico and Latin America I have also worked in detail on the histories of ‘exhibiting’ the art of these regions and how traditions of display and categorisation have been responded to within the global struc tures of contemporary art expositions. Running throughout much of my writing has been a fascination with the ways different geographic contexts impact on definitions of creative practice and how such definitions are then interpreted. In recent years my publications have included a comparative discussion of the work of Ernesto Neto and Gabriel Orozco (‘Re-Locating Authenti city and the Transnational Dilema’ in Transna tional Correspondences, 2007) and an exploration of the work of Teresa Margolles in relation to stereotypes of Mexican identity (‘Teresa Margolles and the Pathology of Everyday Death’, Dardo Magazine 5, 2007). I am continuing to explore issues around cultural stereotype and ideas of authenticity, particularly looking at the asso ciations of death, gender and danger with cultural otherness.

Pre-Hispanic stone spheres, Museo Nacional de Costa Rica, San Jose, Costa Rica (photo by O. Baddeley)

S ele cte d Outputs a nd Ac hie v e me nts

Recent Publications 2007 ‘Teresa Margolles and the Pathology of Everyday Death’ in Dardo Magazine, #5, Santiago de Compostela, Rio de Janeiro. 2007 ‘The Relocation of Authenticity and Transnational Dilemmas, Rio de Janeiro’ in Asbury, M., and Ferreira, G. (eds), Transnational Correspondence (Special Edition of Arte and Ensaios, #14), Universidade Federal do Rio de Janeiro. 2005 ‘Reflecting on Kahlo: Mirrors, Masquerade and the Politics of Identification’, in: Frida Kahlo, exhibition catalogue, Tate Modern, London. 2004 ‘The Beautiful South: Fantasies of Mexicanness’, in: Imagined Modernities, University of Coimbra, Portugal 2003 ‘Ancient Mexican Sources of Art Deco’, in: Art Deco, catalogue, Victoria & Albert Museum, London.

Selected Conferences / Presentations 2010 ‘… a fair calculation, if not a certain operation’, visual essay, in re:SEARCHING playing in the archive, exhibition at the ING Bank. 2010 ‘From Kahlo to Margolles: Visualizing the politics of Victimhood’, in Ghosts of the Mexican Revolution in Literature and Visual Culture (Art, Film, Photography), an international symposium to commemorate the centenary of the Mexican Revolution, Trinity College / Centre for Latin American Studies, University of Cambridge. 2009 28th Bienal de São Paulo ‘The Contemporary Bienal’ panel for the 28BSP convened by the Transnational Art, Identity & Nation (TrAIN) Research Centre, University of the Arts London. 2009 Co-organiser, and Chair / panellist with Charles Esche: Exhibitions and the World at Large, Tate Britain, London.

Baddeley Oriana

2009 Panel discussion with Julian Stallabrass and Rosina Cazali at Performing Localities, inIVA, London. 2008 Panel discussion with Gabriela Salgado, Curator of Public Programmes at Tate Modern at A State of Exchange, inIVA, London. 2008 Paper presented at A,B,C… D Symposium, Victoria & Albert Museum. 2008 Co-organiser and paper presented at 28th Sao Paulo Bienal Conference, Parque Ibirapuera, Sao Paulo. 2008 Teresa Margolles and the Pathology of Everyday Death, lecture at the Institute of American Studies. 2007 ‘The Re-Location of Authenticity and Transnational Dilemmas’ – paper presented at Transnational Correspondence, Tate Modern. 2007 ‘Re-locating Authenticity and the Transnational’ First International Symposium of Graduate Studies in Art History and Related Programs, 1–4 October 2007, Universidad Iberoamericana, Mexico City.

Teresa Margolles “What Else could we talk about?”, Mexican pavilion (in the Palazzo Rota Ivancich), Venice Bienial, 2009 (photo by O. Baddeley)

2006 The Transformation of a National Museum, Instituto Tomie Otake, Sao Paulo. 2006 Henry Moore and Myths of Primitiveness, Museo Eva Klabin, Rio de Janeiro, British Council organised lecture. 2005 The Many Faces of Frida, Tate Modern, London, coorganiser and speaker. 2004 Nation, Identity & Modernity: Visual Culture of India, Japan & Mexico, Victoria & Albert Museum, London, co-organiser and speaker. Key positions Editorial board member, Art History, journal of the Association of Art Historians. Member of the International Advisory Committee of UECLAA (University of Essex Collection of Latin American Art). Advisory Editor of the Oxford Art Journal. Trustee of the St Catherine Foundation.

The cultural stereotypes of Mexicanness, display, shop at the Museum of Fine arts Boston (photo by O. Baddeley)

Coldwell Paul

Professor

Paul Coldwell, Sites of Memory-Suitcase, screenprint, 45 × 60 cm, 2008 Biography Professor Paul Coldwell is a prac ticing artist and researcher. He has recently led a two-year AHRC funded project, The Personalised Surface within Fine Art Digital Printmaking which concluded in 2009 with a conference at the V&A and a publication of the research. He has taught in numerous colleges throughout UK and abroad and contributed to many international confer ences and symposia on Printmaking and practice based research.

His art practice includes prints, book works, sculptures and installations. He has exhibited widely, his work is included in numerous public collections, including Tate, Victoria & Albert Museum (V&A), British Museum and the Arts Council of England, has been selected to represent UK at the Ljubljana Print Biennial in 2005 and 1997, selected for the International Print Triennial, Cracow in 2000, 2003, 2006 and 2009, and the Northern Print Biennial in 2009. His most recent solo exhibition was I called while you were out at Kettle’s Yard Cambridge, 2008–09. He has curated a number of exhibitions including Computers & Printmaking, Birmingham Museum & Art Galleries, Digital Responses, V&A and most recently, Morandi’s Legacy; Influences on British Art at the Estorick Collection London, accompanied by a book published by Philip Wilson. His work is featured in the recent book Prints Now (Saunders & Miles) and published a major survey of print making, Printmaking: A Contemporary Perspective (Black Dog Publishers) in 2010. He was appointed to the editorial board of the international journal Print Quarterly in 2009. R e search Stat e m e n t My research is focused on a practiced-based approach and located within fine art. Through printmaking, sculpture, instal

lation and writing, I explore issues around absence and loss, with ideas crossing between media. A recurring question for me is how the new technologies impact on previous processes, in particular within printmaking and how digital technologies can inform and rejuvenate older technologies such as etching and screenprint. This fits in to my broader commitment to printmaking both as a practitioner but also through raising awareness of the value and quality of print over and beyond its role as a reproducible media. I have written on a number of artists including Ardizzone, Rego, Morandi, Caulfield and Craig-Martin. I have just concluded a two year AHRC funded project, The Personalised Surface within Fine Art Digital Printmaking which considered a range of approaches that artists have adopted to ensure a haptic relationship with their work when work ing with and through digital technologies. This is part of my broader research within printmaking and I am now in the process of developing a new project with Susan Johanknecht, which will con sider the Folio and Artists Book as sites of inquiry. I have often used collections as locations for my research and practice. These have included, the V&A, Kettle’s Yard and a current project that I am developing with the John Soane Museum. Writing has increasingly played an important role in my research, looking for ways of using a narrative language to explore and articulate ideas. My recent projects and exhibition at The Estorick Collection, Morandi’s Legacy; Influences on British Art, and at Kettles Yard, I called while you were out, were both accompanied by substantial narrative essays in which I attempted to show how I gather material and how this relates to my working process.

Sele c ted Output s and Ac hievement s

Selected Solo Exhibitions 2008–09 I called while you were out, Kettle’s Yard, Cambridge. 2008 Graphic Work, An-Dan-Te Gallery, Korea. 2007 Kafka’s Doll and Other Works, Eagle Gallery. 2005 Paul Coldwell – Recent Prints, Edinburgh Printmakers. 2002 ‘Case Studies’, London Print Studio; Queens Gallery, New Delhi, India; Gallerie 88, Kolkata, India. Selected Group Exhibitions 2010 Tamed, Spanish Barn, Torre Abbey, Torquay. 6 July – 30 August (Coldwell, Hirst, Jansch, Long, Nelson, Neudecker). 2010 Transformed Imperial War Museum, including works by Fiona Banner, Ian Hamilton Finlay, 1 May – 25 July. 2010 Interior Spaces, Eagle Gallery (Bevan, Coldwell, Matthews, Smith). 2010 Printmaking; A Contemporary Perspective, Black Dog Space, London. 2009 Upside Down/Inside Out, Kettle’s Yard, Cambridge. 2009 WORD/PLAY, ICA, London. 2009 Northern Print Biennial, Hatton Gallery, Newcastle.

2009 Points of Contact, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil. 2008 Close to the Surface: Digital Presence, ICA, London. 2007 International Multiple Art Exhibition, Gyeongnam International Art Festival, Korea. 2007 Territories, Study Centre Poole. 2007 14th Tallinn Print Triennial. 2006 International Print Triennial, Cracow, Poland. 2006 Prints Now, Victoria & Albert Museum, London. 2006 International Print Triennial, Cracow, Poland. 2005 Sculpture; Time & Process, Study Gallery Poole. 2005 New Works; Paul Coldwell – Richard Slee, Camberwell. 2005 Ljubljana Biennial, invited artist, Slovenia. 2003 International Print Triennial, Cracow, Contemporary Art Palace, Cracow; Horst Janssen Museum, Oldenburg. 2003 4th Egyptian International Print Triennale, Cairo, Egypt. Selected Curatorial Projects 2006 Moriandi’s Legacy: Influences on British Art, Abbott Hall, Cumbria. 2004 Beyond The Digital Surface, Ewah Gallery, Seoul. 2002–03 Digital Responses, Victoria & Albert Museum.

Coldwell Paul

Paul Coldwell, Single Bed_Daydreaming, painted bronze/rubber, 12 × 24 × 15 cm, 2008

Paul Coldwell, Head 1, inkjet and relief print, 72 × 60 cm, 2009

Books 2010 Printmaking: A Contemporary Perspective, Black Dog Publishers. 2009 Personalised Surface; New Approaches to Digital Printmaking, Publication concluding two year AHRC research project. 2006 Morandi’s Legacy: Influences on British Art, London, Philip Wilson Publishers. 2005 Paula Rego – Printmaker, London, Marlborough Graphics. 2005 Finding Spaces between Shadows, London, Camberwell Press. Selected Published Writings 2008 ‘Between Digital & Physical’, in Journal of the New Media Caucus, vol.4, #02. 2008 Guest editor of Journal of the New Media Caucus, vol.04, #02. 2008 Essay in I called when you were out, Kettle’s Yard. 2006 Moriandi’s Legacy; Influences on British Art, Philip Wilson. 2005 ‘Ceramic as Canvas Collaboration with Spode has proved to be a fruitful relationship for Charlotte Hodes’, in Ceramic Review, #213.

2003 ‘Paula Rego’s Graphic Technique’, in Paula Rego – The Complete Graphic work, London,Thames & Hudson. 2003 ‘Born with a Silver Spoon’, in Digital Responses, CD-ROM, London Victoria & Albert Museum. 2003 ‘Negotiating the Surface’, in Digital Surface within Fine Art Practice (CDRom), Dublin, NCAD, UIAH+LI. Presentations/Conference Contributions 2010 ‘The Impassive line’, CAT Conference, London. 2010 ‘Printmaking; A Contemporary Perspective’, Daiwa Anglo-Japanese Foundation. 2009 ‘Towards a consideration of the role of surface within digital fine art printmaking’, Impact UWE Bristol. 2009 ‘Case Studies – Tim Head, Kathy Prendergast, Dan Hays and Paul Coldwell’, V&A London. 2008 ‘The Personalised Surface’, CAA conference, Dallas, USA. 2007 ‘Three Bookworks – Memory and Identity’, at Impact International Printmaking Conference, Tallinn. 2007 ‘The personalised surface within fine art digital printmaking’, at Impact International Printmaking Conference, Tallinn. 2004 ‘Integrating the Computer’, at Pixel Raiders 2, Sheffield Hallam University, April.

2004 ‘The Surface as Meaning’, at Beyond the Digital Surface – Conference Proceedings, Seoul, Ewha Womans University. 2003 ‘Making Historie’, at Southern Graphics Council Conference, Boston. 2003 ‘Preservation and Conservation Issues Related to Digital Printing and Photography’, at conference at Institute of Physics, Heriot Watt University Edinburgh. 2003 ‘The Digital Surface’, at Culture 2000 Conference, Tate Britain. 2003 ‘An exploration of Aesthetics in a Digital Age’, at Southern Graphics Council Conference, Boston April, Boston, USA. Selected Awards 2008 AHRC Practice-led and Applied Grant: ‘Absence and Presence.’ 2007 Principal Investigator, 2 year AHRC research grant for the project ‘Personalised Surface within Fine Art Digital Print Making’. 2005 AHRB Small award for work relating to potential use of haptic technology for digital engraving (in collabo ration with Dr Angie Geary). 2004 AHRB Small Grant: Morandi; themes in British Contemporary Art.

Selected lectures/talks 2008 Paul Coldwell and Roger Wilson in conversation, Kettle’s Yard, Cambridge. 2007 Paula Rego – Printmaker, Birmingham Museum and Art Gallery. 2007 Paul Coldwell – The Role of Printmaking, Original Print Fair, RA, London. 2007 Multi-Print Symposium, Bradford. 2007 Kafka’s Doll, Eagle Gallery London. 2007 Morandi’s Prints, British Museum. 2006 Moriandi’s Legacy; Influences on British Art, Abbot Hall, Museo Morandi Bologna, Italian Cultural Institute, London. 2006 Paula Rego – Printmaker, RCA. 2006 Sites of Memory, inaugral lecture, University of Northampton. 2005 Paula Rego – Printmaker, Talbot Rice Edinburgh, Brighton Museum & Art Gallery. 2005 The Condition of Print, Impact International Print Conference, Berlin/Poznan. 2005 Imagined Journey’s, Impact 1V, Berlin/Poznan. 2005 The artist as curator, Institute of Curatorship and Education, Edinburgh College of Art.

Cummings Neil

Professor

Biography Neil Cummings is Professor of Critical Practice at Chelsea. He was born in Wales, and lives in London. (www.neilcummings.com) R e search Stat e m e n t 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 (both public and commercial) 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 the appropriate form, and these are as varied as creating exhibitions – Enthusiasm at the Whitechapel Gallery, curating film programmes – Social Cinema at several temporary locations in central London, writing and editing films – Museum Futures; Distributed, books – The Value of Things, and convening participatory conferences – Open Congress at Tate. Currently I am interested in the political economy of creativity, and how art is instituted. While at Chelsea I contribute to the research cluster Critical Practice (www.criticalpracticechelsea.org).

S e le c t e d Ou t pu t s an d Ach ievemen t s

Selected Exhibitions and Projects 2010 Parade (with Critical Practice), Rootstein Hopkins Parade Ground, Chelsea, London. 2010 ArchivalProcess, ongoing since February 2009, a research project with Intermediae, in Madrid. 2009 Lapdogs, installed at the Arnolfini in Bristol as part of Lapdogs of the Bourgeoisie. 2008 Lapdogs, screened at the Townhouse Gallery in Cairo, Egypt. 2008 Post production, a special programme curated from The Enthusiasts Archive (www.enthusiastsarchive.net) for Manifesta 7, installed in the ex-Alumix factory in Bolzano, Italy. 2008 Museum Futures: live recorded distributed, project commissioned by Moderna Museet, Stockholm, Sweden, as part of their Jubilee celebrations. 2007 Parade, commissioned for the Contour Film Biennial, exhibited in Mechelen, Belgium, and ArtLife a simultaneous project for Transit Gallery, Belgium. 2006 Generosity as part of Protections, Kunsthaus Graz, Austria. 2006 Launch of The Enthusiasts Archive (www.enthusiastsarchive.net), an on-line extension of Enthusiasm. 2005–06 Industrialtownfurturism: 100 years of Wolfsburg and Nowa Huta, opened at the Kunstverein Wolfsburg in December 2005 and closed in Nowa Huta, Cracow in November 2006, commissioned by the London Architec ture Biennale. 2005–06 Screen Test 1/4, exhibited as part of The British Art Show Six, touring exhibition with catalogue. 2005 Enthusiasm, major exhibition at the Whitechapel Art Gallery, London and touring to Kunst Werke, Berlin and the Tapies Foundation, Barcelona, accompanying trilingual publication. 2004 Enthusiasts, The Centre for Contemporary Art, Warsaw, Poland, bi-lingual publication. 2004 The Commons, a distributed artwork at key sites in Liverpool, commissioned as part of the International section of The Liverpool Biennial. 2003 Free Trade, Manchester Art Gallery, Manchester, UK. Selected Texts 2008 Selection of texts, The History Book: On Moderna Museet 1958–2008, Moderna Museet and Steidl Verlag, Germany. 2007 ‘From Capital to Enthusiasm’. in Macdonald, S. and Basu, P. (eds) Exhibition Experiments, Blackwell Publishing, Oxford. 2006 ‘A shadow of Marx’, in Jones, A. (ed.) A Companion to Art Since 1945, Blackwell Publishing, Oxford.

Neil Cummings, Parade structure, Critical Practice, Rootstein Hopkins Parade Ground, London, May 2010

The research group Critical Practice have a longstanding interest in art, public goods, spaces, services and knowledge, and a track record of producing original, participatory events. An eighteen month research project resulted in PARADE.

In a bespoke, temporary structure designed by award-winning Polish architects Ola Wasilkowska and Michal Piasecki – assembled in public – we produced a landmark event in an amazing location with a host of international contributors.

Chelsea College of Art and Design has a large contemporary courtyard at its heart: the beautiful Rootstein Hopkins Parade Ground. We collabo rated with Polish curator Kuba Szreder to develop a project to explore the diverse, contested and vital conceptions of being in public.

PARADE challenged the lazy, institu tionalised model of knowledge transfer – in which amplified ‘experts‘ speak at a passive audience. Our modes of assembly, our forms of address and the knowledge we shared was intimately bound.

Elwes Catherine

Cummings Neil

Professor

Museum Futures: Distributed - is a machinima record of the centenary interview with Moderna Museet’s executive Ayan Lindquist in June 2058. It explores a genealogy for contempo rary art practice and its institutions, by re-imagining the role of artists, museums, galleries, markets, manufactories and academies. The project was commissioned by Moderna Museet Stockholm, Sweden, on the occasion of its 50th anniversary in 2008. Neil Cummings and Marysia Lewandowska, Ms Chan, still from Museum Futures; Distributed, Moderna Museet Stockholm, Sweden, HD video, 32 min, 2008–09

2005 ‘Relations Audiences, Institutions and Values’, in British Art Show Six catalogue, Hayward Gallery Publishing, London. 2004 ‘An Economy of Love’, in Cox, G., Krysa, J. and Lewin, A. (eds) Economising Culture: on the Digital Culture Industry, autonomedia, New York. 2004 ‘From Things to Flows’, in Stahel, U., Seelig, T. (eds) The Ecstacy of Things, Steidl Verlag, Gottingen. 2004 ‘Collision’, in Preziosi, D. and Fargo, C. (eds) Grasping the World: the Idea of the Museum, Ashgate, London. 2003 ‘Reprise’, published as part of Independence, South London Gallery, London. Selected Presentations and Conference Papers 2009 ‘Social Cinema’, the Hinterland Symposium at Broadway, Nottingham. 2009 Presentation for The Economics of the Art System, Wysing Cambridge. 2007 ‘From Capital to Enthusiasm’, York University, Torronto Canada. 2007 Participated in Hang the Commission!, Serpentine Gallery, London. 2007 In conversation as part of the Ice Trade, GoetheInstitute, London. 2006 Keynote presentation of Screen Tests, at CIMAM Annual Conference, Tate Modern, London. 2006 ‘Virtual Communities versus Physical Realities’, at Future of Community Festival, London. 2006 Presentation at Anticipating the Past: Artist: Archive: Film, Tate Modern, London.

2005 Co-organiser as part of Critical Practice, Open Congress, Tate Britain, London. 2005 ‘Introduction of Enthusiast: archive’ at Remix Culture: Creative Commons and Creativity, University of Sussex. 2004 Keynote presentation ‘A Joy Forever (and its place in the market)’ at 30th Annual Conference of the Association of Art Historians, Nottingham. 2004 ‘New Paradigms of Contemporary Art’, at CaixaForum, Barcelona, Spain. 2003 Presentation at Fieldworks; dialogues between Art and Anthropology, conference organized by Tate Modern and the University of London, in association with Goldsmiths College and University College London. Tate Modern, London. Places on committees and selection panels 2009 Peer review college member, AHRC. 2007 Trustee, Nottingham Contemporary. 2006 Member of Editorial Board, Documents in Contemporary Art. Visiting Fellowships 2005 Visiting Scholar, University of the Arts in Boulder, Colorado, USA. 2004 Visiting Professor, Grinnell College, Iowa, USA.

Biog r a phy Catherine Elwes is a Professor at Camberwell. She studied Fine Art at the Slade School of Art, and graduated with an MA in Environmental Media from the Royal College of Art, London in 1983. In the late 1970s she was a member of the Women Artists’ Collective and co-curated two landmark feminist exhibitions, Women’s Images of Men and About Time, both held at the ICA in London in 1980. From the early 1980s she specialised in video, exploring representation and the body, gender and identity. As an artist, she has participated in multiple international festivals, recently including the British Art Show in Australia; Video Brazil in Sao Paulo, Brazil; Recent British Video in New York, USA. Her tapes have been shown on Channel 4 as well as Spanish, Canadian and French networks . Her work is archived at LUXONLINE and REWIND .

An internationally established artist, critic and expert in early moving image culture, Elwes’ diverse practice includes video and installation, writing, curating and teaching. She is the author of Video Loupe (KT Press, 2000) and Video Art – A guided Tour (I.B. Tauris, 2005), and has written for publications such as Filmwaves & Vertigo, Third Text, Contemporary Magazine, and Art Monthly. She has written monographs on individual artists, and numerous book chapters and catalogue essays. She is currently writing Installation and the Moving Image and Landscape and the Moving Image for Wallflower Press. From 1998 until 2003, she was Director of the UK / Canadian Video Exchange, a biennial festival that featured video from across Canada and the UK, and in 2006, she co-curated ANALOGUE , an international exhibition of pioneering video art from the UK , Canada and Poland. Her most recent

curatorial project has been Figuring Landscapes, a collection of 55 works on themes of landscape from the UK and Australia, touring both countries between 2008 and 2010. Her own practice as a video artist continues to inform both her writing and her curatorial work. Re se a r ch State me nt I continue to investigate the social, cultural and aesthetic dimensions of moving image art through my writings and my curatorial practice. I am particularly interested in the historical evolution of moving image and its ability to elaborate issues around identity, political activism, visual pleasure, space and landscape. Further, I am concerned to create textual portraits of individual practitioners in order to deepen insight into the creative process and map the range and ambition that currently animates moving image art.

My current practice as an artist is rooted in an investigation of masculinity as it solidifies and dissolves around the image of the war hero. The relationship of the individual combatant to both history and the artist who attempts to retell his story in the present, operates in an area of ethical and practical difficulty and necessitates substantial experimentation and tact. My recent video, Pam’s War (2008) focuses on a woman’s experience of WW 2 and has recently toured Australia and the UK as part of Figuring Landscapes. In 2010 I was commissioned by the curator Kerry Baldry to contribute to the One Minute Volume 4, collection of works. I made Travelling Shots: Haiti, based on a journey through the sights and sounds of a Haitian market before the devastation of 2010. The work is currently on tour in the UK and Europe. My video Kensington Gore from 1981 has been archived by the AHRC -funded conservation

Elwes Catherine

Catherine Elwes, Passing Shots Haiti, single screen video, 2010

Catherine Elwes, Kensington Gore, single screen video, 1981

project REWIND and released by LUX as part of a new DVD collection of seminal British video art. Kensington Gore screened for a month at Tate Britain and critical interest in the work continues to be revived by screenings at the Camden Arts Centre and Raven Row. I have been commissioned to make a new work and curate the programme Sea Fever for the Finis Terrae Festival in Ouessant, Britanny. I have embarked on a new area of research around issues of Landscape and the Moving Image. Landscape represents a major theme in artists’ film and video, both historically and in

contemporary practice. This is an underresearched area that nonetheless encompasses a wide range of concerns from the lyrical, romantic tradition inherited from painting to the activation of the narrative backdrop that derives from mainstream film. The politics of space is also of concern particularly in the context of Australia where Aboriginal land rights are still in dispute. However, the relationship of ownership to representation is an issue in post-colonial as well as indigenous imaging traditions. Landscape and memory inform my own practice and the use of landscape as a cypher of the human imagina tion intersects with all other aspects of the theory and practice of landscape film and video. This

My commitment to the theory and practice of the moving image has generated a new international publication initiative. In collaboration with Intellect Books, I am founding a journal entitled the Moving Image Review and Art Journal (MIRAJ ). I have recently completed a chapter entitled The Domestic Spaces of Video Installation –Television, With associate editors in Australia, New Zealand the Gallery and Online for the forthcoming book, and Canada, the journal will map and debate the Expanded Cinema: Film Art Performance (Tate diversity of moving image art practices from Publishing). Here I argue for an alternative geneal across the world. The first issue of MIRAJ is due ogy of Expanded Cinema via the technologies for publication in the autumn of 2011. of video, and the social and domestic spaces of broadcast television. This chapter represents my In 2010, I was elected to the AHRC peer-review initial research findings in the longer-term pro college. ject, Installation and the Moving Image, an authored book commissioned by Wallflower Press. research will feed into my forthcoming book, Landscape and the Moving Image commissioned by Wallflower Press.

Farthing Stephen

Elwes Catherine

Professor

S elected O u t p u t s a n d Ac h i e v e m e nt s

Authored Books 2005 Elwes, C.,Video Art – a guided tour, London: I.B.Tauris. Edited Volumes 2008 Elwes, C., Ball, S. and Chua, E.J. (eds) Figuring Landscapes: Catherine Elwes/UAL/ACESE. 2006 Elwes, C. and Meigh-Andrews, C. (eds) ANALOGUE; Pioneering Video from the UK, Canada & Poland: British Council/ACE. Selected Curatorial Projects 2010 Sea Fever, Finis Terrae Festival, Ouessant, Brittany, France. 2008–10 Figuring Landscapes, touring exhibition. 2006 Analogue: Pioneering Video from the UK, Canada and Poland (1968–88), Tate Modern and Tate Britain, toured nationally and internationally. 1998–03 Co-curator, UK/Canadian Film & Video Exchange, South London Gallery, and Canadian venues. Selected Exhibitions 2010 Kensington Gore, in ‘Rewind & Play’, Lightbox, Tate Britain; Camden Arts Centre; Raven Row, London. 2010 Travelling Shots: Haiti, in One Minute Volume 4, touring to Moors Bar and Crouch End Studios London; The BBC Big Screen, Manchester and Liverpool; Directors’ Lounge Contemporary Media & Art Festival, Meinblau, Berlin. 2008–10 Pam’s War, exhibited at Figuring Landscapes, touring exhibition. 2008 Travelling Shots, exhibited at Transcentric, Lethaby Gallery, CSM, London. 2008 Re-Reading Pam, exhibited at One-Minute, Volume 2, touring to various venues including Contemporary Art Fair, Essen, Germany; Proxy NoD, Prague, Czech Republic; The Marseille Project Gallery, France; Artprojx, London. 2008 Travelling Shots, exhibited at Drawn Encounters, The Gallery at Wimbledon College of Art, London. 2004 Out of Conflict, Catherine Elwes and Cornford & Cross, ArtSway Centre, New Forest; Lethaby Gallery, London; and Hat Factory, Luton. 2003 A Century of Artists’ Film, Tate Britain, London Selected Essays and Articles 2010 ‘The Domestic Spaces of Video Installation –Television, the Gallery and Online’, book chapter in Expanded Cinema: Film Art Performance (Tate Publishing). 2009 ‘Catherine Elwes: questions and answers’, chapter in Guarda, D. (ed.) Video Art and Art and Essay films in Portugal.

2009 ‘In the Perceptible Field’, in Vertigo Magazine, vol.4, #3. 2008 ‘Kate Adams: Feeling and Knowing’, Vertigo Magazine, vol.4, #1. 2006 ‘Tamara Krikorian, Defending the Frontier’ and ‘War Stories, or why I made videos about old soldiers’, in Film & Video Anthology, Hatfield, J. (ed.), London: John Libbey Publishing. 2005 ‘A Meeting of Minds’, in Talking Back to Science, Art, Science and the Personal, Wellcome Foundation, UK. 2005 ‘Thoughts on Screen, the films of William Raban’, Vertigo magazine, vol.2, #8. 2005 ‘A Polemical History of Video, in brief’, Contemporary magazine, #71. 2005 ‘The Blood Red Heart of Johanna Darke’, in Gunilla Josephson, exhibition catalogue, Centre Culturel Canadien, Paris. 2004 ‘On Performance and Performativity’, in Third Text, vol.18, #2. Selected Presentations and Conference Papers 2010 ‘Figuring Landscapes’, Cinema & Landscape conference, Sheffield Hallam University. 2009 ‘A letter from London’, Figuring Landscapes symposium, Ivan Dougherty Gallery, Sydney, Australia; an earlier version at the Tate Britain symposium for Figuring Landscapes. 2009 ‘The Domestic Spaces of Video Installation – Television, the Gallery and Online’, at Expanded Cinema, Tate Modern. 2009 ‘Drawing and the Moving Image’, at Drawn Encounters, British School at Rome. 2009 ‘Drawing and the Moving Image’, at Drawn Encounters, Forum for Drawing, London College of Fashion. 2005 Video Art – From the Margins to the Mainstream: A Symposium Curated by Three Artists, co-curator and speaker, Tate Britain, London. 2005 ‘Practice-based Research, some niggling concerns’, paper for conference: Practice-based Research in the Audiovisual and Digital Field, AHRB Centre for British Film & Television Studies, Birkbeck College, London. 2004 ‘A Parallel Universe: The UK/Canadian Film & Video Exchange 98–04 and the ICA shows of Women’s Art in 1980’, paper for conference: Curatorial Strategy as Critical Intervention, Kent Institute of Art & Design, Kent.

Biog r a phy Professor Stephen Farthing is the Rootstein Hopkins Chair of Drawing at the University of the Arts London. He is currently editing the sketchbooks of Joselyn Herbert for Royal Academy Publications and working with the University of Oxford on an AHRC funded project relating to the teaching of drawing. His book, 501 Great Artists was chosen by the New York Public Library as one of the top 25 reference books published in 2008. As a professor of drawing within the graduate school he coordinates and stimulates cross disciplinary research into drawing. Farthing is involved with a number of projects with overseas institutions, which include: RMIT and Monash Universities in Melbourne, The University of Auckland and the National Art School Sydney. Recently he curated an international touring exhibition of the Sketchbooks of architect Nicolas Grimshaw and edited The Sketch Books of Nicholas Grimshaw, published by Royal Academy publishing and ART; The Whole Story published by Thames and Hudson. During 2009–10 Purdy Hicks, London and the West of England Academy, Bristol recently organized The Fourth Wall a touring exhibition of his paintings.

All my research is geared towards establishing, first a taxonomy of drawing, then a more complete understanding of drawing as an aspect of general literacy and finally effective ways of teaching drawing today. Rese a r ch State me nt

In the first instance most of my research is collections and archive based, for the most part this involves visiting collections then trying to make sense of what I see, this is done by a mix of drawing and writing. Currently I am focusing on two primary areas; modern American drawing and the drawings made after first contact by pre

literate societies. At a more physical level I have been working with Aston Villa FC exploring links between sports skill and drawing skill acquisition. In two projects developed with the British Museum and Tate Gallery, London, I am using historical drawing collections as a means of assessing the value of redrawing fine examples as a part of the process of improving participants drawing skills. All projects are based on a process of working with professional artists, students and school children in qualitative assessment studies. Finally, there is no strong separation between my activities as a painter and my research as a Professor of Drawing, one feeds the other, archival work on drawing informs my painting just as practical research projects in drawing serve to inform my painting. Sele cted Output s and Achievement s

Selected Solo Exhibitions 2010 The Fourth Wall, Royal West of England Academy, Bristol. 2010 The Drawn History of Painting, The Drawing Gallery, Wales. 2009 The Fourth Wall, Purdy Hicks, London. 2008 Stephen Farthing RA (20 Years of Painting), Passmore Gallery, London. 2007 Man Reading a News Paper, Monash University, Melbourne, Australia. Selected Group Exhibitions 2010 Royal Academy Summer Exhibition, Royal Academy of Art, London. 2009 Royal Academy Summer Exhibition, Royal Academy of Art, London. 2008 When Photography and Drawing Meet Fashion, Fashion and Textiles Resource Centre, The Hong Kong Polytechnic University. 2008 40 Artists 80 Drawings, The Drawing Gallery, Shropshire. 2008 Free Art Fair, 4, 19, 21 New Quebec Street and 5, 8, 16 Seymour Place, Portman Village, London.

Farthing Stephen

Stephen Farthing, The Knowledge: mapping cities, pen and ink on paper, 80 × 100 cm, 2010

2008 In Drawing, Purdy Hicks Gallery, London. 2008 Drawn Encounters, The Gallery at Wimbledon College of Art, London. 2007 Drawing Breath, National Art SchoSydney, Australia. 2007 Drawing Breath, Nanyang Academy of Fine Arts. 2007 Stranger Geography, Palazzo Vaj, Prato, Italy. 2007 Stranger Geography, Kingsgate Gallery, London. 2007 Drawing Towards Fashion, Fashion Space Gallery, London College of Fashion, London. Selected Curatorial Projects 2007 Leaf & Leopard: An analysis of The Elements of Drawing, Gus Fischer Art Gallery, The University of Auckland, New Zealand. 2006–07 Drawing from Turner, Clore Galleries, Tate Britain. Selected Published Books 2010 Editor, ART: The Whole Story, Thames & Hudson. 2008 Editor, 501 Great Artists, Barron’s Educational Series (UK) and Penguin (New Zealand). 2007 Editor, 1001 Paintings You Must See Before You Die, UK: Cassel, Australia: ABC Books, USA: Rizzoli.

Selected Published Writings 2009 ‘On Drawing a Man reading a Newspaper’ in Visual Communication, vol.8, #2. 2008 Chapter in Garner, S. (ed.) Writing on Drawing, Intellect Books (UK). 2008 ‘A New Poetry in Painting’, in Jerwood Young Painters Awards Catalogue. 2008 ‘Catalogue essay’, in The Whiteness of Paper, Wimbledon School of Art Gallery. 2006 ‘Drawing from Turner’, in Turner Society News, #104. Selected Conference presentations 2010 Key-note speaker at DRAWING OUT 2010, RMIT, Melboune Australia. 2008 ‘Performing Marks’, at Radcliffe Institute for Advanced Research, University of Harvard, Cambridge MA. 2008 ‘Drawing Australia’, at Drawn Encounters: Complex Identities, BSR, Rome. 2007 Key-note speaker at Drawing Breath, National Arts School, Sydney, Australia. 2007 Key-note speaker at Transcription Conference, Monash University, Melbourne Australia.

Stephen Farthing, The Back Story: Boucher, material oil on canvas, 173 × 207 cm, 2009

Garcia David

Professor

Biography Professor David Garcia is Dean of Chelsea College of Art and Design and previously Professor of Design for Digital Cultures, research programme based at Hogeschool voor de Kunsten, Utrecht and the University of Portsmouth.

In 1983 he co-founded Time Based Arts, which went on to become one of the premier venues for international media arts in the Netherlands. From this basis he went on to develop a series of high profile international media arts events the most significant being The Next 5 Minutes (1994–2003) a series of international conferences and exhibitions on electronic communications and political culture. Recently (since 2006 as part of the Digital Cultures program) he initiated (Un) common Ground a research programme consisting of structured expert meetings and publications, investigating the new role of art and design as a catalyst for collaboration across sectors and disciplines. In 2007 he edited and contributed to the book (Un)common Ground, Creative Encounters Across Sectors and Disciplines, which was launched in spring 2007 at the Enter Festival, Cambridge. In 2010 with Eric Kluitenburg of De Balie in Amsterdam the Tactical Media Files, an online web based archive of Tactical Media content, was launched. This archive forms the basis of the first centralised information resource for Tactical Media art scholarship and action. It will form the basis of a two-year public research program into the Tactical Media legacies and futures. R e search Stat e m e n t The focus of my work is what I call tactical media – the impact of the rise of small scale DIY media and tools and networks in art, social and political activism and the rise of new social movements. The research involves making personal installations, video tapes, TV

programmes, and curating exhibitions along with an extensive output of published theoretical writing on critical media and internet culture. In June 2010 development we launched a centralised web archive of Tactical Media content. This will form the basic reference point for a two year program of public research in the form of events, exhibitions and conferences. S e lec t e d Output s and Ac hievement s

Selected Publications 2010 CAT 2010: Ideas before their time, CAT symposium procceedings. 2009 ‘Proud to be Flesh’, essay selected for Mute Anthology. 2008 ‘(Un)realtime Media’, in Lovink, G. and Niederer, S. (eds), Video Vortex Reader: Responses to YouTube, Amsterdam: Institute of Network Cultures. 2008 ‘Alternative TV platforms and breakout section on tactical media’, in Alternative Media Handbook, Routledge. 2007 Co-editor and contributor (Un)common Ground: Creative Encounters Across Sectors and Disciplines, Book Industry Services. 2006 ‘Learning the Right Lessons’, in Mute: Journal of Culture and Politics After the Internet.

Recent Papers and Presentations 2010 Keynote paper, Duncan of Jordonstone College of Art Annual Research Symposium. 2010 ‘CAT 2010: Ideas before their time’, paper delivered at CAT symposium. 2009 Keynote Art and Science conference, Leuven. 2009 Keynote speaker at LCASE Conference for English Arts Council Officers. 2007 Presentation on Coolmedia Hot Talk Show, De Balie Center for Culture and Politics, Amsterdam. 2007 Two lectures on the new cultures of ‘real-time data bases’, Dutch Electronic Arts Festival, Rotterdam, The Netherlands. 2007 Organisation and moderation seminar on ‘(Un)common Ground’, Enter Unknown Territories Festival, Cambridge. 2007 ‘Diminishing Freedom’ at Engaging the Impossible, Central Saint Martins, London.

Selected Curatorial Projects 2010 ElectroSmog, established Chelsea College as a node in an experimental communications experiment. 2007 Faith in Exposure, Dutch Media Institute, Amsterdam. 1996–04 Initiated and led The Next 5 Minutes, a series of international conferences and exhibitions on electronic communications and new social movements Selected Screenings 2010 Screening and performance (with Kevin Atherton) at Glasgow International Art Festival. 2009 Nederlands Instituut voor Media Kunst, screenings and cable TV transmission. 2005 Museum of Modern Art, Shanghai, China. 2004 SESC for Finde/Autolabs festival, Sao Paulo, Brazil. Selected Awards 2007 Arts Council UK + Virtuel Platform: funding for (Un)common Ground. 1994–2003 Mondrian Foundation, Soros Foundation, Amsterdam Fonds Voor De Kunst: funding for The Next 5 Minutes.

David Garcia, The Tactical Media Files, web-based archive. The first centralised source of content from the worldwide Tactical Media movement.

Pickwoad Nicholas

Professor

Biography Nicholas Pickwoad is a Professor at Camberwell. He has a doctorate in English Literature from Oxford University. He trained with Roger Powell, and ran his own workshop from 1977 to 1989. He has been Adviser on book conservation to the National Trust of Great Britain from 1978, and was Editor of the Paper Conservator. He taught book conservation at Columbia University Library School in New York from 1989 to 1992 and was Chief Conservator in the Harvard University Library from 1992 to 1995. He is now project leader of the St Catherine’s Monastery Library Project based at the University of the Arts London and is Director of the Ligatus research unit, which is dedicated to the history of bookbinding. He gave the 2008 Panizzi Lectures at the British Library, was awarded the 2009 Plowden medal for Conservation and is a Fellow of the IIC and of the Society of Antiquaries. He also teaches courses in the UK, Europe and America on the history of European bookbinding in the era of the hand printing press, and has published widely on the subject. Research Stat e m e n t My major current research centres on the construction of a multilingual glossary of bookbinding terms, to be illustrated with photographs, drawings and diagrams. My colleague Athanasios Velios and I have used an XML database to hold the terms and their definitions, in which the hierarchies are based on the structure of a book, allowing the user to navigate the structure to find terms which are not known to them. The glossary will also serve as the basis for a descriptive process which will allow consistent records of historic bindings to be compiled by different researchers in different languages, which can then contribute to an international database to provide source material for further analytical research into the

development of bookbinding. The translation of the glossary into as many as 15 European languages is the subject of a multi-annual EU bid to be submitted later this year. I am also continuing in my research into the history of bookbinding, with particular reference to structure and materials and how a more complete understanding of bookbinding can contribute to a better understanding of the culture of the book. A new project is aimed at encouraging the incorporation of descriptions of bookbindings into mainstream bibliography, as interest in copyspecific cataloguing grows. Our work on the glossary is an essential pre-requisite for such a development, and discussions are now underway to hold a conference/seminar in Oxford in February 2011 in conjunction with CERL (the Consortium of European Research Libraries) and the Centre for the Study of the Book (based in the Bodleian Library, Oxford). The conclusions of the seminar discussions are to be presented at the CERL/LIBER (Ligue des Bibliothèques Européennes de Recherche, the main research libraries network in Europe) Conference in the Vatican in November 2011. S e lect e d Output s and Achievement s

Selected Publications 2009 Chapter on Bookbinding in Michael, F., Suarez, S.J. and Turner, M.L. (eds) The Cambridge History of the Book in Britain, vol.5, 1695–1830. 2008 ‘How Greek is Greek: Western European imitations of Greek-style bindings’, Vivlioamphiastis 3, Tsironis, N. (ed.), Athens: Hellenic Society for Bookbinding & the Instititute for Byzantine Research. 2005 ‘Research Projects on Historic Bookbindings’, in Atti della Conferanza Internazionale: Scelte e Strategie per la Conservazione della Memoria, Dobbiaco, Bolzano: Archivio di Stato.

2004 ‘Recording medieval bindings – The role of the conservation survey, with reference to work currently under way in the library of the monastery of St Catherine on Mount Sinai’, in Colloque Reliure, Paris: CNRS. 2004 ‘The History of the False Raised Band’, in Against the Law, Myers (ed.), Harris and Mandelbrote, London: British Library and Oak Knoll Books. 2004 ‘The condition survey of the manuscripts in the monastery of St Catherine on Mount Sinai’, Paper Conservator, vol.28. Selected Awards 2005 Principal Invesigator, An English/Greek terminology for the structures and materials of Byzantine and Greek bookbinding, AHRC Research Standard Grant. Key Professional Positions 2009– Council Member of the Bibliographical Society of Great Britain. 1978– Advisor to the National Trust on Book Conservation. 1977– Member of the IIC until its incorporation into ICON.

Detail of a pink-stained, alum-tawed, split-strap, double sewing support on an Italian binding on a Venice edition of 1493. The conventional straight, packed sewing has the addition of a small horizontal stitch between the two elements of the double support at its left end, intended to prevent the sewing thread falling off the cut end of the support. This tells us that the binder originally intended that the book should have a limp parchment cover and that the current cover of slotted, second-use parchment over boards is a later replacement.

Politowicz Kay

Professor

Biography Kay Politowicz is Professor of Textile Design, co-founder and Project Director for the Textiles Environment Design (TED ) research group at Chelsea, with a direct interest in all contemporary interpretations of the subject. She has been instrumental in establishing the post of Research Fellow and the TED Resource. TED research has also contributed significantly to the successful designation of the Textile Futures Research Centre (TFRC ) at the University of the Arts London (UAL ) and to the research activities of the UK Association of Fashion and Textiles Courses.

Previously, as Course Director for BA (Hons) Textile Design at Chelsea, Politowicz has developed a course known for a high-level of achievement in specialist material processes and for an environmental focus to curriculum developments within the subject. Design contexts have been introduced for students to see environmental problems as opportunities for innovative design thinking in processes, products and systems. This experience has led to her current role, in which she devise strategies to connect the taught curriculum at BA and MA level, to opportunities for partcipiation in practice based research projects. Professor Politowicz has been instrumental in hosting Texprint: First View exhibition annually at Chelsea since 2005. In collaboration with Texprint in 2008, Chelsea hosted a seminar on sustainability involving speakers and delegates from industry and education. In collaboration with Texprint in 2010, Kay has made Chelsea the venue for a platform debate, involving speakers and an audience from industry and education, designed to challenge assumptions concerning sustainability in design education.

In leading the TED research group, I have encouraged staff, students and graduate designers to collaborate in the devel opment of projects and events which propose to explore the potential for fabrics to change or define an environment. In my research I explore fabrics which work from principles inherent in life-cycle analysis of a product for interior and exterior spaces.

R e s e a r c h S tat emen t

Developments include the ability of fabrics to carry light technologies as well as colour and pattern, often transferring low/mediumtechnologies from other industries into textile design and manufacture. Experiments include the use of long-life, synthetic fabrics with natural dyes and mechanical patterning to produce prototypes for installation. The use of industrially produced ‘multiples’ and ‘flat-pack’ production has enabled fabrics to be used as temporary and reusable environments. In Particle Fabrics exhibition, Milan (2002), part of Signatures of the Invisible (Sci-Art exhibitions in four European centres), I explored the potential of fabric to change and define an environment. In Artists at Work, Museo del Tessuto Prato, Italy (2003), and Ever and Again: Rethinking Recycled Textiles (2007), I proposed the production and reuse of ‘flat-pack lanterns’ using magnets as fixings. This ongoing development of products currently includes the use of electro-luminescent print paste to produce glowing patterns in interior spaces. Current projects also include Creative Connections (2009–10) a TED collaborative project linking small craft businesses in India with digital print production technologies to test new models for sustainable production. I actively seek and create

Kay Politowicz, Wardrobe Disclosure, market stall and placards installation, 500 × 300 cm, 2010

opportunities to promote and test research theories concerning sustainability, design and production in which current students and graduates work in research teams to investigate approaches to sustainable design. Examples of action research include: ‘Critical Collage’ (2010–11), a cross-discipline project within the CCW Graduate School, designed to compare subject approaches to the exploration of waste streams as raw material for making new work; Chelsea BA and MA textile students participation in ‘Crosscut’ 2010–11, an inter national project funded by the Norwegian Goverrnment to explore a ‘Grave to Cradle’ use of materials; Collaboration with online retailer Made.com 2010–11, in which textile

students co-design products with craft producers in South Africa’; ‘Agendas’ event at Texprint to engage designers and manufacturers in dis cussing the place of sustainability in design education. Sele cted Output s and Achievement s

Selected Conference Contributions 2010 ‘Electrosmog International Festival for Sustainable Mobility’ 2009 ‘Testing the Theories with Design’ (co-author Rebecca Earley) at Sustainability and Enterprise, Creating Competitive Advantage Conference (Beijing and Shanghai), HIFE Funded. In collaboration with The Economist Intelligence Unit. 2009 ‘Shared Strategies’, at Foresight – Mapping the Territory Conference, Liverpool, UK, Fashion Textiles Association.

Politowicz Kay

Scrivener Stephen

Professor

Kay Politowicz, Lamp, solar powered electroluminescent paste on wooden louvre blind, 250 × 125 cm, 2009

Academic Contributions 2010–12 External Examiner. MA Textile Design. Royal College of Art. 2010 Keynote speaker. University of Bolton School of Arts Media and Education Research Strategy Event. 2009 Elected to Texprint Management Board to manage charitable funds for the international launch of UK textiles graduates. 2008 PhD external examiner, Uppsala, Sweden. 2008 MA external examiner, Swedish School of Textiles, Boras, Sweden. 2008 External assessor for revalidation of MA Constructed Textiles Course and MA Printed Textiles, Royal College of Art. 2007 Istanbul Textile and Apparel Exporters’ Association Istanbul. Invited international jury member Turkish Textile Award for Innovation. 2001–05 BA (Hons) Textile Design external examiner, Manchester Metropolitan University.

Biog r a phy Professor Stephen Scrivener studied Fine Art at undergraduate and master levels, the latter at the Slade School of Fine Art, Uni versity College London, where he began to use the computer as a means of art production. Subsequent to the Slade, Scrivener completed his PhD in a computer science department and, thereafter, worked as a lecturer and researcher in various university computer science departments. Up to 1992, his research focused on the design and development of interactive systems for artists and designers and on how such systems are used. During this period he undertook many funded design-focused research projects (supported by grants in excess of £2 million) almost all of which involved academic, commercial and industrial collaboration. Scrivener moved back into an art and design department in 1992, and since then his research has focused on the theory and practice of what is often called practice-based research. During his research career, he has completed funded research projects; produced over 175 research outcomes; supervised more than 30 research degree students to completion and examined over 40. Scrivener has participated in the research context in a range of functions; he is the founding editor of the International Journal of Co-Design, published by Taylor and Francis and an elected fellow of the Design Research Society. Rese a r ch State me nt My research is concerned with the theory and practice of practice-based research, which has been reported in a series of journal and book chapters. My thinking on this topic is, perhaps, distinguished from other authors in the field in that it progresses from the proposition that the activities of art, design, etc., already contain the activity of research, understood as that function that expands each field’s potential and relevance.

Sele cted Output s and Achievement s

Selected Funded Projects 2005–07 Consolidating understanding and experience of practice-based research, funded by AHRC under the Small Grant Scheme, designed to advance current understanding of theory and experience of practice-based research in art and design. 2005–07 Managing breakdowns in international distributed design projects, funded by The British Academy and the National Science Council (NSC) grants scheme to support joint projects between British and Taiwan scholars, in the fields of the humanities and social sciences. 2000–04 UNITE – Ubiquitous and Integrated Teamwork Environment, an international project funded by the EC under the 1st programme in collaboration with IBM (France and Israel), GMD , FGH , ADETTI , Penta Scope, and TESCI . The project was shortlisted for the 1st prize. Selected Publications 2010 ‘Transformational practice: on the place of material novelty in artistic change’, in The Routledge companion to research in the arts, Abingdon, Oxford: Routledge (to appear) 2010 ‘Triangulating artworlds: gallery, new media and academy ‘, in: Art practice in a digital culture, Aldershot, Hants: Ashgate Publishing Ltd. (co-authored with Clements, to appear in 2010) 2009 ‘The roles of art and design process and object in research’, in Reflections and Connections: On the relationship between creative production and academic research, Helsinki: University of Art and Design Helsinki. 2009 ‘Connections: A personal history of computer art making from 1971 to 1981’, in White Heat Cold Logic: British Computer Art 1960–1980, Massachusetts, USA and London: MIT Press. 2007 ‘Visual art practice reconsidered: transformational practice and the academy’, in The Art of Research, University of Art and Design Helsinki: Helsinki. 2004 ‘The practical implications of applying a theory of practice based research: a case study’, in Working Papers in Design, #3. Keynote presentations 2010 ‘Creative production; research for design’, for the International Design Conference and Design exhibition, Taipei, Taiwan. 2010 ‘Creative production; research for design’, invited speaker, Napier University, Scotland. 2010 ‘Creative production; research for design’, invited speaker, Geneva University of Art and Design, Geneva, Switzerland.

Scrivener Stephen

2009 ‘Creative production’, invited speaker, Academy of Art, Budapest, Hungary. 2009 ‘Applying for a Practice-led Research Project’, at practice-led research seminar, AHRC, London. 2009 ‘Research by Design’, at New Norwegian Architecture Policy Conference, Norsk Form, Oslo. 2009 ‘Articulated Transformational Practice’, at New Forms of Doctorate: An ESRC Seminar, London Knowledge Lab, London. 2009 ‘The Roles of Art and Design in Research’, at The Danish Doctoral Design School Conference, Copenhagen. 2008 Art and Research: HOW?, Academy of Arts, Tallinn, Estonia. 2007 ‘Practice-based Research’, at The Art of Research, University of Art and Design, Helsinki. 2005 ‘Practice-based Research’, at International Practicebased Research Conference, University of Art and Design, Helsinki, Finland. Key committee and panel memberships 2010 Member of the Executive Board of the international Society of Artistic Research 2009–10 Chair of Peer Review Panel B, AHRC. 2009 Appointed as external member, Kunsthogskolen: Bergen National Academy of the Arts, Research Committee. 2007 Member, AHRC Peer Review College. 2007–08 Advisory Board, The Third International Conference on Design Computing and Cognition. 2006 Commissioning Board member, EPSRC/AHRC, Phase 2 of the Design for 21st Century programme. 2005–06 Chair, EPSRC Peer Review Panel. 2005 Invited by EPSRC to be a member of the Advisory Group for the funding programme entitled Design for the 21st Century. 2005 Selected Member of Sub-panel 63, RAE. 2004–05 Member, EPSRC/AHRB Design for 21st Century Programme Panel, Phase 1. 2003–04 Member, EPSRC Peer Review Panel. 2002–03 Invited member, EPSRC, working group to develop a funding programme entitled, Design for the 21st Century. 2001–05 Member, AHRB Peer Review Panel 2: Visual Arts and Media. Editorial positions 2007– Member of Editorial Board, Leonardo Transactions. 2005– Editor in chief, International Journal of Co-Design, Taylor and Francis.

Stephen A.R. Scrivener, The Machine, perspex, light-emitting diodes, switches and electronic components, 50 × 26 cm, 1974

Stephen A.R. Scrivener, The Machine – view of the electronics stack comprising hard-wired homeostatic system, electronic components, component stack and wiring, 1974

Wainwright Chris

Professor

Biography Professor Chris Wainwright is the Head of Camberwell, Chelsea and Wimbledon Colleges. He is also President of The European League of Institutes of the Arts (ELIA ), an organisation representing over 350 European Higher Arts Institutions, and former Chair of the National Association for Fine Art Education in the UK. He is currently a member of The Tate Britain Council and a board member of Cape Farewell, an artist run organisation that promotes a cultural response to climate change.

Chris Wainwright is also an active professional artist and curator working in photography and video whose recent exhibitions include The Moons of Higashiyama at Kodai-ji Temple, Kyoto, Japan and Trauma at the Culturcentrum in Brugge, Belgium. His work is currently being shown as part of the UK touring exhibition Fleeting Arcadias – Thirty Years of British Landscape Photography from the Arts Council Collection. He is currently cocurating Unfold, a Cape Farewell international touring exhibition of work by artists addressing climate change. His time based work Capital has been shown at File 2002 and Channel 14 at File 2005 in Sao Paulo, Brazil and video projections at the Champ Libre Festival of Electronic Arts, Montreal, Canada, 2004 and 2005. Channel 14 was also selected for the Media and Architecture Biennial, Graz, Austria, 2005. 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.

R e s e a r c h S tat emen t 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 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 environ mental change though my direct presence, actions and journeys, always undertaken in dark ness, and the way 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.

S e lec t e d Output s and Ac hievement s

Selected Exhibitions 2010 ‘Rise’, site specific video installation for 1300 anniversary of Nara Heijo-kyo Capital Nara, Japan. 2009 Cape Farewell Exhibition: Art and Climate Change, as part of the Salisbury Festival (group exhibition). 2008 The Moons of Higashiyama, Kodai-ji temple, Kyoto, Japan (group exhibition, with catalogue). 2007 Between Land and Sea, Box 38, Ostende, Belgium. 2007 T/raum(a)68, Hallen van de het Belfort, Brugge, Belgium (group exhibition, with catalogue). 2005 Channel 14, video screening, Biennale of Media and Architecture, Graz, Austria (catalogue). 2005 Channel 14, video external site projection, National Library, Montréal, Canada (catalogue). 2005 Channel 14, video screening, File 2005, Media Arts Festival, Sao Paulo, Brazil. 2004 Strange Things, the Aine Art Museum, Tornio, Lapland, Finland (group exhibition with catalogue). 2004 Wainwright + Bickerstaff, The Drawing Room, London (catalogue). 2004 Channel 14, 6th Manifestation Internationale Vidéo et Art Électronique, Montréal, Canada.

Chris Wainwright, Red Ice 3, Disko Bay, Greenland, C-type print on aluminium, 1203 × 1711 cm, 2009

Wainwright Chris

Chris Wainwright, Red Ice, film stills from ‘Burning Ice’ a 70 min documentary of Cape Farewell Disko Bay expedition 2008, directed by Peter Gilbert, 2010

Curatorial Projects 2010 Unfold, Cape Farewell exhibition on climate change, Co-curator, exhibition to touring UK, Europe and worldwide. Publications 2010 Unfold, co-editor with David Buckland, Cape Farewell. 2009 Universities for Modern Renaissance, co-editor with Professor James Powell OBE, University of Salford. 2008 ‘Strategy Paper on Research in Art and Design’, European League of Institutes of the Arts.

Key Positions and Memberships 2009–11 Board Member, Cape Farewell. 2008–09 Member of the Sensuous Knowledge Editorial Board for research publications, National Academy of Art, Bergen, Norway. 2009 Chair of Jury, European Commission photography competition for The Year of Culture and Creativity. 2008–10 President, The European League of Institutes of the Arts (ELIA ) 2008–10 Member, Tate Britain Council. 2008 Chair of Jury, European Commission photography competition Cultures On My Street in the Year of Intercultural Dialogue.

Chris Wainwright, Red Ice, film stills from ‘Burning Ice’ a 70 min documentary of Cape Farewell Disko Bay expedition 2008, directed by Peter Gilbert, 2010

Watanabe Toshio

Professor

Biography Professor Toshio Watanabe is Direc tor of the Transnational Art, Identity and Nation (TrAIN) research centre. He studied at the Universities of Sophia, Tokyo, Courtauld Institute of Art, London and in 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. At Chelsea since 1986, initially as the Head of Art History and later became Head of Research.

Professor Watanabe is an art historian, studying mostly the period 1850–1950, and is interested in exploring how art of different places and culture intermingle and affect each other. He has worked in the field of Anglo-Japanese relationships in art, and publications in this field include High Victorian Japonisme (1991, winner of the Prize of the Society for the Study of Japonisme), Japan and Britain: An Aesthetic Dialogue 1850–1930 (1991, Japanese edition 1992, co-edited), and Ruskin in Japan 1890–1940: Nature for art, art for life (1997, winner of 1998 Japan Festival Prize and of 1999 Gesner Gold Award). Current external roles include President of the Japan Art History Forum (USA) and Chair of International Jury of Künstlerhaus Schloss Balmoral, Bad Ems, Germany. R e search Stat e m e n t The main focus of my research is transnational interactions of art with an emphasis on the issue 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 and 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 consumption of these art forms locally and globally. Projects being undertaken include following themes: the theory of modern landscape and imperial architecture in Japan, 1880s–1940s; history and reception of modern Japanese garden; construction of Japanese Art History; British Japonisme. I was the Principal Investigator (with co-investi gators Oriana Baddeley and Partha Mitter) for the AHRC -funded research project ‘Modernity and Identity in Art: India, Japan and Mexico 1860s–1940s’ (2001–05), a collaborative project with University of Sussex. Building on this work, I am currently Principal Investigator for the AHRC -funded research project ‘Forgotten Japonisme: Taste for Japanese Art in Britain and the USA , 1920s–1950s’ (2004–10), which explores a previously neglected period in the study of Western attitudes towards Japanese art from the 1920s to the 1950s. I am also a member of a Japanese government-funded research project ‘Comparative Study of Historiography of Japanese Art History in Japan, Britain and the USA in the Context of the Appreciation of Yamato-e’, which is based at University of Kagoshima in collaboration with TrAIN research centre. S e lec t e d Output s and Ac hievement s

Selected Publications (Selection from last four years) 2008 ‘Modernism: Self and Other represented in (or by incorporating) other’s style’, in exhibition catalogue Self and Other: Portraits from Asia and Europe, National Museum of Ethnology, Osaka. 2007 ‘Vicissitudes of the value of Englishness in 19th century Hamburg: Nikolaikirche, the Town Hall and the

Waterworks’, in Arte & Ensaios, special issue: ‘Trans national Correspondence’, PPGAV-UFRJ, Rio de Janeiro, Brazil, #14. 2007 ‘Japanese Landscape Painting and Taiwan: Modernity, colonialism and national identity’, in Refracted Colonial Modernity: Taiwanese Art and Design, University of Hawaii Press. 2007 ‘The British design world during the stay of the Japanese designer Moriya Nobuo’, in Moriya Nobuo, Sakura City Museum of Art, Japan. 2006 ‘Japanese Imperial Architecture: From Thomas Roger Smith to Itô Chûta’, in Conant, Ellen P. (ed.) Challenging Past and Present: The Metamorphosis of NineteenthCentury Japanese Art, University of Hawaii Press. Selected Presentations and Conference Papers (selection from last three years) 2010 Convenor: Forgotten Japonisme Conference, Victoria & Albert Museum, and paper ‘Transnational Identity of a Garden: Gardens of Manzanar Internment Camp, California and Queen Lili’uokalani Garden at Hilo, Hawai’I’ 2009 ‘The Historiography of the Study of American and British Japonisme.’, symposium on American and British Japonisme, Bunka Women’s College, Tokyo. Organised jointly by the Society for the Study of Japonisme and TrAIN research centre. 2008 ‘Modern Urban Environment and identity: the case of Hamburg.’, lecture to Aoyama Gakuen University students. 2008 ‘The Creativity of Modern Urban Parks: Tokyo and London.’ Public lecture given at the Aoyama Gakuin University, Tokyo as part of the Sensing Cities project. 2007 ‘The Modern Japanese Garden: A transnational art form?’, Oxford Brookes University. 2007 ‘Japanese Landscape Painting and Taiwan: Modernity, colonialism and national identity’, book launch symposium in Taipei. 2007 ‘The Reception History of Tradition: The Case of Kyoto Gardens’, at symposium on Kyoto Craft, SOAS. 2007 ‘Loss of historicity as Identity: The Theory of Japanese Garden by Josiah Conder’, at Traditional Arts and Crafts in the 21st Century: Reconsidering the Future from an International Perspective, International Research Centre for Japanese Studies. 2007 ‘Clamoring at the Gates or Tearing Down the Walls: Dealing with Canonicity’, paper for roundtable discussion at College Art Association Annual Conference, New York. 2007 ‘How could North American scholars improve Art History teaching in Japan?’ for roundtable discussion at Teaching Japanese Art: New Challenges in the 21st Century, organised by Japan Art History Forum at the Association of Asian Studies at Boston. 2007 ‘China and the Historiography of Sculpture in Meiji

Japan’, at The Status of and Market for Chinese Sculpture in the Late Qing, at the Duke University, Durham, North Carolina. 2007 ‘Forgotten Japonisme: Investigating Japanese taste in Britain and the USA 1920s–1950s’, at Reconsidering Japonisme, symposium in Tokyo organised by the Society for the Study of Japonisme. 2007 ‘How did Japanese art become a museum object? Aesthetic value, national identity and historicity’, at Museums Today: Contemporary Challenges, University of Sao Paulo. Selected Awards 2008–09 Anglo-Japanese Daiwa Foundation, Sensing Cities project with Aoyama Gakuin Univerisity (PI) and Bartlett School of Architecture, UCL. 2008–11 Ministry of Culture and Science, Japan: ‘Comparative Study of Historiography of Japanese Art History in Japan, Britain and the USA in the Context of the Appreciation of Yamato-e’, project submitted by Professor Miho Shimohara, University of Kagoshima (PI) in collaboration with TrAIN research centre. 2007–10 AHRC grant: ‘Forgotten Japonisme’, major three year research project. 2001–04 AHRB grant: Modernity and Identity in Art: India, Japan and Mexico 1860s–1940s. Membership of professional bodies and other external activities 2009– Chair of Jury, Künstlerhaus Schloss Balmoral, Bad Ems, Germany 2005–09 Member, RAE sub-panel 64. 2005– President, Japan Art History Forum (USA). 2003– Member of the AHRC Diaspora, Migration and Identity Steering Group. 2003– Membre titulaire and Acting Chair, British Committee of Comité International d’Histoire de l’Art. 2002–05 Member, Tate Britain council. 2002– Jury member, Chino Kaori memorial essay prize (JAHF, USA ). 2002–08 Reviewer, J. Paul Getty postdoctoral fellowship in the History of Art and the Humanities. 1999–01 Member, Board of Historians of British Art (USA). 1998–01 Chair, Association of Art Historians. Editorial positions 2003– Member of the Editorial Advisory Board, Design History Japan (Japan). 2002– Member of advisory board, Journal of Design History. 2002– Member of editorial advisory board, 19th Century Art Worldwide. Book referee: Curzon Press, Blackwell, University of California Press, University of Hawaii Press.

Readers 46

Running headlines

Asbury Michael

Baseman Jordan

Biswas Sutapa

Collins Jane

Cross David

Earley Rebecca

Fairnington Mark

Faure Walker James

Fortnum Rebecca

Kikuchi Yuko

Newman Hayley

Pavelka Michael

Quinn Malcolm

Tulloch Carol

Asbury Michael

Reader

Biography Dr Michael Asbury is a Reader in the history and theory of art and a core member of the research centre for Transnational Art, Iden tity and Nation (T rAIN ). Michael has published widely and has curated several exhibitions. He was associate-curator for the ‘Rio de Janeiro 1950– 1964’ section of Century City: Art and Culture in the Modern Metropolis, the inaugural temporary exhibition at Tate Modern in 2001. More recently, he curated solo exhibitions by artists Antonio Manuel, Detanico + Lain, Anna Maria Maiolino, Sutapa Biswas, José Patricio, Cao Guimarães as well as other group exhibitions. He acted as cura torial consultant for the Espaço Aberto / Espaço Fechado: Sites for Sculpture in Modern Brazil exhi bition at the Henry Moore Institute, 2006. His writing on modern and contemporary art in Brazil has been published by: Arte e Ensaios, Art History Journal, Art Nexus, Dardo, Documenta 12, Editora Perspectiva, Henry Moore Institute, inIVA/MIT , Liverpool University Press, Parasol Unit, Pharos Centre for Contemporary Art, Rodopi, Tate Publishers, Third Text, Untitled, among others. R e search Stat e m e n t What is the relevance of contemporary art practice for an art historian and how can art history inform critical and curatorial engagement in contemporary art? These are questions that my work over the last decade has attempted to respond to. I find myself in a paradoxical situation in which as a specialist in a subject area seemingly limited by nationality, my drive has been to question essentialist readings of Brazilian culture with a knowledge of the specificity of context, its relation to the wider history of art and its unde niable transnationality. My writing has thus drawn on revisionist, historiographic and sometimes comparative methods while my curatorial practice questions the mechanisms

through which certain artists reach international notoriety through a subtle exotic gaze which at once emphasises the relation to the local while emptying such practices of any significant contextual ambivalence in terms of their relation to both the local and the global. There is no longer such an urgency in arguing the lack of visibility of art emerging from outside EuroAmerica, instead there is a need to engage in processes in which that visibility is given com plexity and consequently a greater significance.

S e le c t e d Ou t pu t s an d Ach ievemen t s

Selected Publications 2010 Catalogue text in Shirley Paes Leme, exhibition catalogue, Museu de Arte Contemporânea, Centro Cultural Dragão do Mar, Fortaleza, Brazil. 2010, Catalogue text on Ernesto Neto, The Astrup Fearnley Museum of Modern Art, Oslo, Norway. 2009 ‘From Constructivism to Pop: Avant-Garde Practices in Brazil, Britain and North America between the 1950s and 1960s’, in: Anderson, J. (ed.) Crossing Cultures: Conflict, Migration and Convergence, the Proceedings of the 32nd International Congress of Art Historians (CIHA), University of Melbourne, Australia: The Miegunyah Press, pp.743–746. 2009 Catalogue text in Cao Guimarães: Memória e Outros Esquecimentos, Galeria Nara Roesler, Sao Paulo. 2009 ‘Introduction’ and ‘Order and Subjectivity’, in Asbury, M., Keheyan, G. (eds) Anna Maria Maiolino, Pharos Publishers, Nicosia. 2008 ‘Parisienses no Brasil, Brasileiros em Paris: Relatos de Viagem e Modernismos Nacionais’, in Concinnitas, #12, UERJ, Rio de Janeiro. 2008 ‘Antonio Manuel’, in Art Nexus, #68, V. 7, Miami. 2008 ‘Catalogue text’, in José Patricio: Painting by Numbers / Pinturas Numerosas, Galeria Nara Roesler, Sao Paulo. 2008 ‘Made in Brazil’, in The Art History Journal, #1, vol.31, February, London, pp.103–113. 2008 ‘O Hélio não tinha Ginga / Hélio Couldn’t Dance’, in Braga, P. (ed.) Fios Soltos do Experimental: a arte de Hélio Oiticica, Editora Perspectiva, Sao Paulo, pp.27–65. 2007 ‘Shadows / Sombras’, in Revista Arte & Ensaios, (guest editor, Special TrAIN edition), PPGAV-EBA, UFRJ, Rio de Janeiro, pp.52–67. 2007 ‘The Perversions of Practice’ in The Intricate Journey: Berlin, Colombia, Berlin, NGBK, Berlin, pp.94–101.

Anna Maria Maiolino and assistant Edmundo work on installation at Camden Arts Centre, London, 2010. Exhibition co-curated by Michael Asbury with the host institution. 2007 ‘This Other Eden: Hélio Oiticica and Subterranean London 1969’, in Brett, G., Figueiredo, L. (eds) Oiticica in London, Tate Publishers, London, pp.35–39. 2007 ‘Detanico & Lain After Utopia: Art in the Age of Information Technology’, in Asbury, M., Keheyan, G. (eds) Detanico & Lain: After Utopia, Pharos Centre for Contemporary Art, Nicosia, pp.62–88. 2007 ‘Ricardo Basbaum: ‘Would you like to participate in an artistic experience?’, in Documenta 12, Taschen GmbH, Köln, Kassel, pp.220–221. 2006 ‘Anna Maria Maiolino’, in Dardo, #3, Santiago de Compostela & Rio de Janeiro, pp.152–173. 2006 ‘Antonio Manuel: Occupations/Discoveries’ in Asbury, M., Keheyan, G. (eds) Antonio Manuel, The Pharos Centre for Contemporary Art, Nicosia, pp.20–51. 2006 ‘The Bienal de São Paulo: Between nationalism and internationalism’, in Curtis, P., Feeke, S. (eds) Espaço Aberto/ Espaço Fechado: Sites for Sculpture in Modern Brazil, The Henry Moore Institute: Leeds, pp.72–83. 2005 ‘Neoconcretism and Minimalism: On Ferreira Gullar’s Theory of the Non-Object’, in Mercer, K. (ed.) ‘Cosmopolitan Modernisms’, inIVA/MIT, London, pp.168–189.

2005 ‘Changing Perceptions of National Identity in Brazilian Art and Architecture’, in Hernandez, F. (ed.) Transculturation: Cities, space and Architecture in Latin America, Amsterdam & Atlanta, pp.56–71. 2004 ‘Marvellous Perversions’, in Unbound: Installations by Seven Artists from Rio de Janeiro, exhibition catalogue, Parasol Unit, London, 2004, pp.24–40. 2003 ‘Tracing Hybrid Strategies in Brazilian Modern Art’, in Harris, J. (ed.) Critical Perspectives on Contemporary Painting, Critical Forum Series 6, Tate Gallery Liverpool and University of Liverpool Press, 2003, pp.139–170. Selected Curatorial Projects 2010 Anna Maria Maiolino, Galeria Andre Millan, São Paulo. 2010 Anna Maria Maiolino, Camden Arts Centre, co-curated with the institution. 2009 Neoconcrete Experience, commemorative exhibition on the 50th anniversary of the Neoconcrete Movement. Gallery 32, in association with the Brazilian Embassy in London. 2009 Shirley Paes Leme, Museo de Arte Contemporânea, Centro Cultural Dragão do Mar, Fortaleza, Brasil.

Asbury Michael

2008 Panel discussion ‘Cildo Meireles’ retrospective at Tate Modern’, Chelsea College of Art and Design, convener, speaker and Chair. 2008 ‘A Arte Brasileira no Exterior, I Congresso do Brasil na Europa’, Universidad de Salamanca. 2008 ‘Some Thoughts on a Historiography of Recent Exhibitions of Brazilian Art in the UK and Beyond’, University of Essex, Departement Art History. 2008 ‘From Constructivism to Pop’, 32nd International Con gress of Art Historians (CIHA ), University of Melbourne. 2008 ‘The Bienal de São Paulo between the National and the International’, 28th Bienal de São Paulo conference, Parque Ibirapuera, Sao Paulo, convenor, speaker and Chair. 2007 ‘Espaços de Circulação para Novas Propostas Artísticas’, Museu de Ciencias Naturais in conjunction with the exhibition Anteciparte 2007, Lisbon. 2007 ‘The Transnationality of Concrete Art’, Transnational Correspondence, Tate Modern. (Convenor and speaker). 2007 ‘Exhibiting Oiticica: an issue of conceptual conservation’, at Hélio Oiticica: The Body of Colour, Tate Modern (speaker and Chair). 2006 ‘Art in Brazil from the 1950s to the 1960s’, at accompanying the exhibition ‘Espaço Aberto / Espaço Fechado: sites for sculpture in modern Brazil’, Henry Moore Institute, Leeds. Michael Asbury and Miguel Palma talk at the artist’s solo exhibition opening at Warwick Arts Centre 2010.

2009 Rosangela Rennó, The Pharos Centre for Contemporary Art, Nicosia. 2008 José Patricio, The Pharos Centre for Contemporary Art, Nicosia. 2008 Pharos = 10, Group Exhibition, Nicosia Municipal Arts Centre / Pierides Foundation, Nicosia. 2008 Sutapa Biswas, Nara Roesler Gallery, Sao Paulo. 2008 Cildo Meireles ‘Occasion’, Rootstein Hopkins Parade Ground, Chelsea College of Art and Design, London. 2008 Cao Guimarães, The Pharos Centre for Contemporary Art, Nicosia. 2007 Anna Maria Maiolino, The Pharos Centre for Contemporary Art, Nicosia. 2006 Detanico & Lain: After Utopia, The Pharos Centre for Contemporary Art, Nicosia. 2005 Antonio Manuel, The Pharos Centre for Contemporary Art, Nicosia. Recent Conference Papers 2010 ‘Antonio Manuel: A Instalação como Pintura – A Pintura como Instalação’, A Pintura Contemporanea e(m) seus Campos, Ciclo de Palestras, Fundação Ibere Camargo, Porto Alegre Brazil.

2010 ‘Anna Maria Maiolino’s Articulations of the Notion of Anthopophagy’, Sub-Objects and Studiowork: From Eva Hessa to Anna Maria Maiolino’, Centre for the Study of Contemporary Art, UCL, University of London. 2009 ‘Insertions, Situations and Clandestines: The work of Cildo Meireles, Artur Barrio and Antonio Manuel in the late 1960s and early 1970s’, Outside the Material World: The exhibition, circulation and insertion of art beyond the market, Tate Modern. 2009 ‘Brazilian Art and the International Avant-Garde’, Department of Art History, University of North Carolina, Asheville, USA. 2009 ‘O lugar na (e da) obra de Shirley Paes Leme’, Museo de Arte Contemporânea, Centro Cultural Dragão do Mar, Fortaleza, Brazil. 2009 ‘Anna Maria Maiolino: anotações sobre possíveis sentidos e sensibilidades em sua obra’, Instituto das Artes, UFRGS, Porto Alegre, Brazil. 2009 ‘Mário Pedrosa and Herbert Read: Paradigms on Art and Political Ideologies in the mid-20th Century’ at Meeting Margins, University of Essex.

Convening And Chairing Conferences 2010 Convener, Catherine de Zegher Lecture and discussion of the work of Anna Maria Maiolino, in association with Camden Arts Centre, TrAIN and Chelsea College of Arts. 2010 Co-convener (with Paul Goodwin and Caitlin Page) / Chair, Afro-Modern, Critical Forum Series, Tate Gallery Liverpool. 2009 Chair, ‘Outside the Material World: The exhibition, circulation and insertion of art beyond the market’, ‘Session 3, The institutionalisation of radical practice: collecting and curating now’, Tate Modern. 2009 Chair, panel 5 ‘Transnacional Interactions (São Paulo, Mexico, La Habana)’ and panel 9 ‘Sites of Resistence’, Graduate Forum, Meeting Margins Research project, University of Texas, Austin. 2008 Co-convener (with Moacir dos Anjos and Margot Heller) discussion panels and screenings in conjunction with the Rivane Neuenschwander: Suspension Point exhibition at South London Gallery. 2008 Convener/Chair discussion panel ‘The Bienal de São Paulo between the National and the International’, 28th Bienal de São Paulo, Parque Ibirapuera, São Paulo. 2008 Moderator, discussion with Ernesto Neto on the relation between art and architecture, Purcell Room, South Bank in conjunction with the Hayward Gallery exhibition, Psycho Buildings.

2007 Convener/Chair session one, ‘Transnational Correspondence’ symposium, Tate Modern. 2007 Chair, section two, Hélio Oiticica: The Body of Colour symposium, Tate Modern. 2006 Co-convener (with Dr Milton Machado) ‘Universal, International, Transnational: Terminology Shifts, Migration of Ideas’. Workshop between staff at TrAIN (UAL) and EBA (UFRJ). Museum of Modern Art, Rio de Janeiro. 2006 Co-convener (with Dr Martina Droth), study-day accompanying the exhibition Espaço Aberto/Espaço Fechado: sites for sculpture in modern Brazil, Henry Moore Institute, Leeds. Selected Awards 2009 Meeting Margins in partnership with University of Essex, AHRC Research Standard Grant. 2003 Award to research and propose an exhibition and conference on current Brazilian Artists’ Groups, Arts Council of Great Britain. 2003 Award to research contemporary artists in five Brazilian cities (Sao Paulo, Rio de Janeiro, Belo Horizonte, Brasilia and Recife), and report findings at a conference in conjunction with A Bigger Splash: At from the Tate Gallery Collection, held in Sao Paulo, funded by the British Council. Editorial and Refereeing Positions 2010 Peer Review College Member, AHRC. 2008 International Editorial Board, Risco, Journal of Architecture and Design, Faculty of Architecture, University of Sao Paulo (USP), São Carlos. 2008 (Founding member) International Editorial Board, World Art Journal, University of East Anglia, Norwich. 2008 Exhibition Advisory Committee, Gallery 32, Brazilian Embassy. 2007 Selection Committee, TrAIN / Gasworks annual residency programme. 2003 Member of the editorial advisory board, Concinnitas Journal, published by the Instituto de Artes da Universidade Estadual do Rio de Janeiro (UERJ).

Baseman Jordan

Reader

Biography Jordan Baseman is a Reader in Time Based Media at Wimbledon. He is also a Lecturer at the Royal College of Art Sculpture School. Baseman received a BFA from Tyler School of Art, Philadelphia, Pennsylvania and an MA from Goldsmith’s College, University of London. He has a long history of carrying out projects in collaboration with various public institutions. These have included fellowships, residencies and commissions for: Arts Council England, Papworth Hospital (Heart and Lung Transplant Unit) Cambridge, The Science Museum, London, Dundee Contemporary Arts, Grizedale Arts, London Arts, Camden Arts Centre, The Serpentine Gallery, Collective Gallery Edinburgh, Book Works, National Sculpture Factory, Cork, Ireland, British School at Rome, the Wellcome Trust, London, ArtSway, Monash University, Melbourne Australia, University of Tasmania, Hobart, Australia, the Photographers’ Gallery London, Matt’s Gallery London and The London School of Hygiene and Tropical Medi cine. He has received grants from Arts Council England, the Arts Humanities Research Council, the British Council, the Henry Moore Foundation, the Wellcome Trust, and London Arts Board. (www.jordanbaseman.co.uk) R e search Stat e m e n t The films that I make have something very real at their foundations: however edited, constructed or manipulated the final works may be; the source, the starting point, the genesis, is always rooted in veracity – not artifice.

My most recent work is a synthesis of reportage, portraiture, documentary, creative non-fiction and narrative practices. I work with, and record people, in order to produce films that have the interview and editing process at their core. Oral

history, first person spoken-word narratives, field-recordings and recorded interviews, are all of great interest to me. My films seek to entertain, to emotionally engage and to challenge audiences. Although the work is placed within a fine-art context, and positioned within academic research culture, I do not feel that it is restricted to those environments and to those debates alone. It is of the utmost importance to me that my work does not operate exclusively within those realms and solely for those audi ences. I try to create work that seeks to encompass wider spheres of cultural reference, and therefore, to have broad appeal.

S e lec t e d Output s and Ac hievement s

Selected Solo Exhibitions 2010 The Most Powerful Weapon in This World, Baltic Centre for Contemporary Art, Gateshead 2010 Nature’s Great Experiment, Modern Art Oxford and Catalyst Arts, Belfast 2009 Blue Movie, Matt’s Gallery London. 2009 A Hypnotic Effect, Collective Gallery Edinburgh. 2008–09 Dark is the Night, ArtSway, New Forest; Photographers’ Gallery London. 2008 The Documentary Imperative, Manchester Museum. 2008 Inside Man, Aberystwyth Arts Centre, University of Wales. 2007 (I Can’t Get No) Satisfaction, Hatton Gallery, Newcastle. 2007 Nature’s Great Experiment, Wellcome Collection, London. 2007 Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia. 2006 luv is gonna get you someday, Maus Habitos, Porto, Portugal. 2006 Sunday Morning, Site Gallery, Sheffield. 2005 don’t stop ‘til you get enough, Matt’s Gallery, London. 2004 July The Twelfth 1984, Kaliman Gallery, Sydney, Australia. 2003 City of Angels, Triskel Arts Centre, Cork, Ireland. 2003 EF103 603, University of Dundee, Dundee, Scotland. 2002 1 + 1 = 1 / Under the Blood, Royal Pump Rooms, Leamington Spa. 2002 Under the Blood / 1 + 1 = 1, Wysing Arts, Cambridge.

Jordan Baseman, The Most Powerful Weapon in This World (installation view at Baltic Centre for Contemporary Art), 2010, courtesy the artist and Matt’s Gallery London

Jordan Baseman, The Most Powerful Weapon in This World (Joy on Toast) (installation view at Baltic Centre for Contemporary Art), 16 mm film still/installed projection, variable size, 2010, courtesy the artist and Matt’s Gallery London

Baseman Jordan

Jordan Baseman, Nature’s Great Experiment, 16 mm film still, installed projection, variable size, 2007/2010, courtesy the artist, Matt’s Gallery London and Wellcome Trust

Selected Group Exhibitions 2009 Animate Projects, BFI, London. 2009 53rd Venice Biennale, ArtSway’s New Forest Pavilion. 2009 Talk Show/Speakeasy, ICA, London. 2008 Alchemy, Manchester Museum, University of Manchester. 2007 Grain, Isle of Grain, Kent. 2007 Heart, Wellcome Trust, London. 2007 The Sun Always Shines on the Righteous, Purescreen, Manchester. 2007 Alchemy Artists, Manchester Museum, Manchester. 2006 Open Video Library, Zaim, Yokahama, Japan. 2006 Hospitality, Accademia Tedesca, Villa Massimo, Rome. 2006 No Place Like Home, Beacon Art Project, Lincolnshire. 2006 Arcade, ACAVA Studios, London. 2006 Vox Pop, Star and Shadow Cinema, Newcastle. 2006 Contingency Plan, C.A.S.T., Tasmania, Hobart, Australia. 2006 Et Tu Tribute, Embassy Rooms, Edinburgh. 2005 Variety, De la Warr Pavilion, Bexhill on Sea. 2005 Crossing Borders, Berwick Film Festival. 2005 Our Surroundings, Dundee Contemporary Arts, Dundee.

2005 Size Matters, Yorkshire Sculpture Park, Yorkshire. 2004 Six Thousand Chairs, Crystal Palace, London. 2004 Bad Behavior, Yorkshire Sculpture Park, Yorkshire. 2004 AGORA , Transition Gallery, London. 2004 Feast of Silenus, Embassy Rooms, Edinburgh. 2004 Island Art Film/Video Festival, UGC Cinema, Docklands, London. 2004 Wonderful/Visions of the Near Future, Arnolfini, Bristol. 2004 Volume, Moving Pictures, St Georges, Bristol. 2004 Brides of March, Embassy Rooms, Edinburgh. 2003 La Mostra, British School at Rome, Rome. 2003 Radio Radio, The International 3, Manchester. 2003 Animality, Blue Oyster Gallery, Auckland, N.Z. 2003 The Human Zoo, University of Newcastle, Newcastle. 2003 Further Up In The Air, Linosa Close, Liverpool. Selected Commissions and Awards 2009 Blue Movie, Grants for the Arts, Arts Council England, Henry Moore Foundation and Matt’s Gallery London. 2009 Commonwealth Suite, a hypnotic effect, Collective, Edinburgh.

2008–09 dark is the night, ArtSway and Photographers’ Gallery Commission. 2008 Stop.Watch., Animate Projects and RSA film commission. 2007 Perfume Disco Coma, Widnes Waterfront Commission, Widnes. 2007 (I Can’t Get No) Satisfaction, Hatton Gallery, Univ. of Newcastle. 2007 Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia. 2006–08 Alchemy Fellowship, Manchester Museum, University of Manchester. 2006 I Hate Boston, Boston Hates Me, Beacon Art Project, Lincolnshire. 2006 Nature’s Great Experiment, Research and Development Award, Wellcome Trust and Arts Humanities Research Council. 2006 Visiting Artist Fellowship, University of Tasmania, Australia. 2006 Sunday Morning, Site Gallery, Sheffield. 2005 don’t stop ’til you get enough, Matt’s Gallery, London. 2005 Grants to Artists, British Council, London.

2005 Life All Over It and More Than Religion, DCA, Dundee, Scotland. 2004 Visiting Artist Fellowship, Monash Univ., Melbourne, Australia. 2003 Henry Moore Sculpture Fellow, British School at Rome. 2003 CACTASIA!, Eden Project, Cornwall. 2003 City of Angels, National Sculpture Factory, Cork, Ireland. 2002 How to Hover, Further Up In The Air, Liverpool. 2002 1 + 1 = 1 and Under the Blood, Papworth Hospital, Cambridge. 2002 THRILLER, London School of Hygiene and Tropical Medicine. Selected Publications 2009 Dark is the Night, Photographers’ Gallery London. 2008 4 Films / Jordan Baseman, Manchester Museum, University of Manchester. 2008 Sunday Morning, Site Gallery Sheffield.

Biswas Sutapa

Reader

Biography Sutapa Biswas is a Reader in Fine Art and Cultural Studies at Chelsea. She received her Bachelor of Arts in Fine Art from the Department of Fine Art and Art History, University of Leeds, where she studied between 1981–85, under the tutelage of many eminent scholars and artists, including Griselda Pollock, Fred Orton, John Tagg, Terry Atkinson, Mary Kelly, in what was then (in a British context), a unique department which had been established by the eminent social art historian TJ Clark, which sought to bring together in a critical way, the disciplines of fine art practice and art history. Between 1988 and 1990, Biswas gained a Higher Postgraduate Diploma in Fine Art at the Slade School of Art, University College, following which she was a Fellow at the Banff Centre for the Arts, in 1990, and in 1992. From 1995 until 1998, she studied for a practice-led PhD, at the Royal College of Art, London, under the direction of Paul Huxley (Head of Painting), and Sarat Maharaj (Goldsmiths College, University of London). In 1998, Biswas was Recipient of The National Endowment for the Arts Award, USA, and in 1992, a Recipient of the Charlotte Townsend Award. She was a nominee for the European Photography Award in 1992.

I was born in India, and have lived in England since the age of four. Growing up, it was difficult not to feel the impact of a country deeply entrenched in a colonial history, and slowly (in different ways), coming to terms with a shifting demographic and the loss of its colonial dominion. Studying fine art and art history in England, I fell in love with the visual imagery, archival histories, and literature, in which I was privileged to be immersed. It is a combination of these many contexts (from which I happily draw) that has informed the present and past language of my R e search Stat e m e n t

work as an artist, alongside my research interests. As such, my work has been absorbed in exploring issues relating to race, gender, subjectivity and identity within a British and global context. As an artist, I work across a range of media, including drawing, painting, film, video, photo graphy and performance allowing the nature of my subject with which I engage, to guide the final aesthetic and formal context of my art and the works I make. My work functions on a level that is both simple, and simultaneously, complex. In terms of the process of making work, I am constantly drawn to questions of temporality – that which is both permanent and impermanent. The curator and writer Guy Brett, says that my work observes, ‘the human condition’, and this, I think is true. Interested in the often quiet, every day narratives of human life and encounter, configuring these ‘spaces’ within a larger land scape, becomes a fascinating challenge to me. In the process of making works, I am drawn, often, to oral histories (often hitherto undocumented and ‘forgotten’), and see these as being part of a larger archive. Frequently collaborating with strangers whom I came to know by virtue of (often unexpectedly) being in a particular loca tion usually over an extended duration of time, many of my works interweave something of the life of strangers, into the texture and plane of my own. Histories therefore (personal and otherwise), become an important dynamic and presence for me within works. Currently, I am investigating the archive, and botanical drawings and works of the Victorian painter Marianne North (Kew), about whose work I recently spoke at the conference, Afterlives of Monuments. The title of my paper, ‘Life

Sutapa Biswas, Time flies, brass stamps, wood, pencil, string, ink, paper, variable dimensions, stamp 1.2 cm (diameter), 2010

after a Monument: time in the context of visual being’, explores the relationship between history, personal narratives, and the act of making in relation to time, location / place, and encounter (moments of exchange with that which is identified as different). This research forms part of a broader series of works titled, Time travels / Time flies. Sele c ted Output s and Ac hievement s

Selected Solo Exhibitions 2008 Sutapa Biswas and Anna Linneman, Nara Roesler Gallery, Sao Paolo, Brazil. 2006 Sutapa Biswas – Recent Works, The Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon, USA (touring exhibition). 2006 Magnesium Dreams, PICA (Portland Institute of Contemporary Art), TBA:2006 , Portland Oregon, USA. 2004 Sutapa Biswas Recent Works, Café Gallery Projects, London, UK (touring exhibition), also showing at Angel Row Gallery, Nottingham and Leeds City Art Gallery, UK.

2004 Sutapa Biswas, Recent works exhibited in situ with drawings by Joseph Turner and Edward Lear, Harewood House, Yorkshire, UK. Selected Group Exhibitions 2010 Twenty-One, celebrating 21st anniversary of contempo rary exhibitions, Terrace Gallery, and 250 years of innovation and patronage to the arts, Harewood House, Yorkshire, UK. 2010 A Missing History: ‘The Other Story’ re-visited, aicon gallery, London, UK. 2010 PINTA London 2010, Galeria Nara Roesler, London, UK. 2009 Outside In: Indian Artists Abroad, Sun Valley Arts Centre, Idaho, USA. 2009 Magical Realism, Lalit Kala Academy, curated by Gallery Espace, Delhi, India, 2009 British Subjects: Identity and Self-fashioning 1967– 2009, Purchase College, State University of New York, USA (September – December). 2009 From TrAIN to Bad Ems, Galerie Nord, Berlin. 2008 PINTA New York, Galeria Nara Roesler, New York, USA. 2008 ARCO, Galeria Nara Roesler, Madrid, Spain. 2008 Moving Beyond the Frame, Gallery Espace, Delhi, India.

Biswas Sutapa

Culture’ and artists statement: ‘To Kill Two Birds With One Stone’, in Campell, S. (ed.) Sutapa Biswas, iNIVA, London and Douglas F. Cooley Memorial Art Gallery, Reed College, Oregon, USA. Published Monograph 2004 Sutapa Biswas, an anthology of essays on the work of the artist Sutapa Biswas, published by the Institute of International Visual Arts (inIVA), London, and The Douglas F. Cooley Memorial Art Gallery, Reed College, USA.

Sutapa Biswas, Charlotte’s letters, projection, digital photograph transferred onto slide, variable dimensions, 2010

2008 Exhibition of a series of drawings at Pinta Art Fair, Metropolitan Pavilion and Altman Building, New York, USA. 2006 Melbourne International Arts Festival 2006, Australia. 2006 Elizabeth Leach, Aqua Art, Miami Basel, USA. 2006 Elizabeth Leach, Portland, Oregon, USA. 2006 Migratory Aesthetics, curated by Griselda Pollock and Judith Tucker, Parkinson Gallery, University of Leeds, Leeds, UK. 2005 3rd Clerkenwell Film and Video Festival, curated by Emma Mahony, Hayward Gallery, London, UK. 2005 Launch of Contemporary Patrons, Royal Academy of Arts, London, UK. 2002–03 From Tarzan to Rambo, Tate Modern, London, UK.

Selected Contributions to Edited Publications 2007 ‘Books, Boats and Birds – Sutapa Biswas’ in Arte & Ensaios, special issue: ‘Transnational Correspondence’, PPGAV-UFRJ, Rio de Janeiro, Brazil, #14. 2007 In e-mail conversation with M. Roth, ‘Sutapa Biswas: Flights of Memory / Rites of Passage / Assertions of Culture’, in The Back Room – An Anthology, Clear Cut Press: Portland, Oregon. 2005 In e-mail conversation with M. Roth, ‘Sutapa Biswas: Flights of Memory / Rites of Passage / Assertions of Culture’, in Changing States: Contemporary Art and Ideas in an Era of Globalisation, iNIVA. 2004 In e-mail conversation with M. Roth: ‘Sutapa Biswas: Flights of Memory / Rites of Passage / Assertions of

Selected Texts 2010 ‘Sutapa Biswas’, essay by Jean Wainwright, Luxonline, (www.luxonline.org.uk/artists/sutapa_biswas/ essay%281%29.html). 2005 ‘Sutapa Biswas: Flights of Memory / Rites of Passage / Assertions of Culture’, by Moira Roth, in Tawadros, G. (ed.) Changing States: Contemporary Art and Ideas in an Era of Globalisation, published by the Institute of International Visual Arts (inIVA), London, pp.218–229 (ISBN 1899846409). 2005 ‘Assembling the 1980s: The Deluge – and After’, by Hall, S. and Fisher, J. Dialogues. In Shades of Black: Assembling Black Arts in 1980s’ Britain, Bailey, D.A., Baucom, I. and Boyce, S. (eds), published by Duke University Press Durham, and London, in collaboration with the Institute of International Visual Arts (inIVA), and the African and Asian Visual Artists Archive (AAVAA), pp.XXY, 18, 174, 175, XVY, 10, 16, 139, 91, 185 (ISBN 0822334208). 2004 ‘Sutapa Biswas’, Café Gallery (Projects), interview with Jean Wainwright, Audio Arts, vol.22, #4 and vol.23 #1, collection Tate Britain, UK. Selected Lectures and Conference Activities 2009 Keynote lecture, ‘Sutapa Biswas: in relation to archive, history and time’, as part of Visual Cultures of British India, Yale Centre for British Art in collaboration with Yale University, New Haven, USA. 2008 Selected co-convenor and panel organiser: ‘Monuments and Memorials’ at Location: Museum, Academy, Studio – 34th Annual Art Historians Conference, Tate Britain and Tate Modern, London, UK. 2007 Symposium Panel Respondent at Transnational Correspondence, Tate Modern, London, UK. 2007 Panel Speaker at ‘Open Market: Investigating the International. A Professional Development Day for Visual Artists’, Bristol Arts Consortium & Arts Matrix Ltd, Bristol, UK. 2006 ‘God, Heroes and Monsters’, at Portland Institute of Contemporary Art, Portland, Oregon, USA.

2004 ‘The Owl and the Pussycat: the concept of travel’, part of a series of lectures, Victoria & Albert Museum, London, UK, October 2004 – April 2005. Selected Awards and Commissions 2008–09 Commissioned permanent artwork for The New Art Exchange, Nottingham, UK. 2008 London Artists Film and Video Award (LAFVA) . 2004 AHRC small grant: Pre-production, research and development, making a new film installation. 2004 Arts Council of England, Recipient of National Touring Awards in support of exhibition, ‘Birdsong’, cocommissioned by inIVA, London, and Film and Video Umbrella, London, UK. Selected Curatorial Projects 2009 Programme Leader for Residency: Poetry and Practice, Balmoral, Bad Ems, Germany in collaboration with TrAIN, University of the Arts London. Selected Distinctions and Memberships 2009 Visiting Fellow, Yale Centre For British Art, Yale University, New Haven, USA. 2008 Member of Board of Directors, Film and Video Umbrella, UK. 2004 Member of Senate, University of Southampton, England.

Collins Jane

Reader

Biography Jane Collins is a Reader in Theatre and Contextual Studies Co-ordinator for Theatre at Wimbledon. She is a writer, Director and theatre maker who works all over the UK and internationally. She has a long association with the continent of Africa and for The Royal Court, with the National Theatre of Uganda, she codirected Maama Nalukalala N_dezze Lye (Mother Courage and her Children) by Bertolt Brecht, with a Ugandan cast in Kampala. This production, which was the first official translation of a play by Brecht into an African language, toured internationally. Her AHRC funded research into ‘performing identities’ resulted in a new work for the stage The Story of the African Choir which was developed in conjunction with the Market Theatre Labo ratory in Johannesburg and performed at the Grahamstown International Festival in 2007. Throughout 2008–09 her research was mainly engaged with co-editing Theatre and Performance Design: a reader in scenography, which was published by Routledge in January 2010. This book, with over 52 texts is the first of its kind in this field. In addition, in 2009, her practice based performance research included re-staging the award winning Ten Thousand Several Doors for the Brighton International Festival. Collins has been asked to contribute an essay on Ten Thousand Several Doors to the forth coming collection Performing Site-Specific Theatre edited by Anna Birch and Joanne Tompkins to be published in late 2011.

In November 2009 Collins was commissioned by the V&A to research and produce a soundscape to accompany the forthcoming Space and Light: Edward Gordon Craig exhibition which opens in London in September 2010 and tours to Europe in 2011. Edward Gordon Craig is credited with being the founder of modern stage design. Collins was

also one of a group of artists who participated in re:SEARCHING playing in the archive an exhibition at the ING Bank in the city of London in May 2010 in response to the Baring archive. R e s e a r c h S tat emen t My research continues to focus on performance and practise based research methodologies which re-engage the ‘theatrical’ as a means of interrogating contemporary society. In 2007 I wrote an article for Studies in Theatre and Performance which examined the efficacy of performance as a means of investigating the construction of post colonial identities through the ‘staging’ of an African ‘past’. One aspect of this research was an analysis of the scenographic framing of these performances for western audiences. Among the many outcomes of this process was the identification of a dearth of material with which to interrogate critically the visual aspects of performance in particular and the scenographic in general. Concurrent with this, in my role as Contextual Studies Coordinator for Theatre at Wimbledon, I was also concerned that students of theatre design did not have a comprehensive body of accessible written texts to help them situate their own work and analyse the work of others. Theatre and Performance Design, a reader in scenography aims to fulfil this need and continues to be the main focus of my research as a practitioner and in my critical writing.

Jane Collins, Theatre and Performance Design: A Reader in Scenography, 2010, cover image by Matthew Andrews

2005–06 Wrote and directed The Voyages of Harriet Herring, ING Bank. 2005–06 Wrote and directed workshop performance: The Story of the African Choir, The Market Theatre, Johannesburg, South Africa. 2005–06 ‘Bright Angel Point’, selected finalist The Croydon Warehouse International Playwriting Festival. 2005 Bright Angel Point shortlist finalist; The Croydon Warehouse International Playwriting Festival. 2003–04 Completed draft Bright Angel Point, reading at the Royal Shakespeare Company, ‘The Other Place’, Lawrence Boswell (dir.). 2003–04 Shakespeare’s Dream on Sea, performance development project including workshop production, Northbrook Theatre, W. Sussex.

S e le c t e d Ou t pu t s an d Ach ievemen t s

Selected Performances 2007 ‘The Story of the African Choir,’ Grahamstown International Festival, South Africa. 2007 Devised and Directed Ten Thousand Several Doors the Brighton International Festival. Best Production of the Festival Joint Winner.

Selected Conference presentations 2010 International Federation of Theatre Research, Munich. 2009 International Federation of Theatre Research, Lisbon. 2007 Rhodes University Summer School, guest speaker. 2007 Royal National Theatre ‘Agendas’, seminar with John Carni.

2007 National Maritime Museum / Tate Gallery Travel and Narrative (paper). 2006 Theatre and Performance Research Association TAPRA (paper). 2006 The International Federation of Theatre Research Helsinki (paper). Selected Awards 2007 AHRC Practice-led and Applied Research grant 2005 AHRB Small Grant in the Creative and Performing Arts. Selected Publications 2010 Theatre and Performance Design: a reader in scenography, co-editor, Routledge. 2007 ‘“Umuntu, Ngumuntu, Ngabantu”: The Story of the African Choir’, in Studies in Theatre and Performance, 27.2. Selected Exhibitions 2007 ‘Stages Calling’ Ruphin Coudyzer, Thirty Years of Stage Photography, The Market Theatre Johannesburg; Royal National Theatre (co-curated by Michael Pavelka).

Cross David

Reader

Biography David Cross is a Reader and Pathway Leader for MA Visual Arts (Graphic Design) at Camberwell. Since setting up the MA in 2004, David has challenged the notion of professional neutrality in graphic design, encouraging instead an ethos that is interdisciplinary, research oriented and socially engaged.

As an artist, David works with Matthew Cornford. Cornford & Cross began collaborating while studying at Saint Martin’s School of Art in 1987, and graduated from the Royal College of Art in 1991. Their work responds to the problems that arise out of particular contexts or situations. Accordingly, each of their projects has been dif ferent in both form and content. They have carried out an Arts Council residency at the London School of Economics, and a British Council residency at Vitamin in Guangzhou, China. In Europe, they have exhibited in Bologna, Rome, and Stockholm; in the USA in San Francisco, Philadelphia and New York. In London their work has been exhibited at the Camden Arts Centre, the ICA, Photographers’ Gallery and South London Gallery. They have just completed a book about their practice, published by Black Dog. R e search Stat e m e n t As an artist with Cornford & Cross I make critical and satirical art projects that connect with civic participatory processes. Moving between photography, sculp tural installation and performance, our projects engage with the physical, temporal and social aspects of particular places. The involvement of different groups of people is essential: the projects aim to stimulate discussion on issues of public concern, including consumerism, resource scarcity and territorial conflict. Since my student days at St Martins School of Art, I have studied

the relationship between visual culture and the contested ideal of ‘sustainable development’; recently, my focus has been on the compound issues of fossil energy dependency and climate breakdown. My focus is now shifting to the obstacles to collective behavioural change, and stimulating the transition to a post-carbon society. In addition to producing aesthetic experiences, I maintain that a key function of contemporary art is to test concepts, assumptions and bounda ries. In public debate, I aim to focus attention on the ‘instrumental’ potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions. In making such propositions, my aim is to set up encounters of difference, so as to stimulate the kind of debate that is at the heart of active social agency. The ecological crisis consists of issues that have been overlooked because ‘nature’ has been pictured as a timeless backdrop to social experi ence, and ‘the environment’ is only visible when it is quantified and priced. To challenge this paradigm, I advocate an interdisciplinary approach that connects the latest developments in scientific and economic understanding with the creative, critical and self-reflexive tendencies of contemporary art. Work I have undertaken in this field includes a set of lectures and a communication art and design project titled ‘Endgame: energy crisis, climate damage and visual culture’ delivered at the Royal College of Art, and featured on the RSA Arts and Ecology website. For ‘Extreme Pasts, Absolute Presents’ at Kings College, I gave a presentation on place and culture in terms of the obliteration of landscape through industrial consumerism.

Cornford & Cross, Why Read the Classics?, film and television lamp reflector on marble statue, gardens of the Villa Aldobrandini, Rome, Italy, 2005

Cross David

Cornford & Cross, The Lion and the Unicorn, maximum safe load of coal on gallery floor, emergency lighting, Wolverhampton Art Gallery, 2008

For ‘Grassroots’ with Hayley Newman and Edwina Fitzpatrick, I examined the tensions between measurement and value in ecological footprinting exercises. For ‘Difference Exchange’ at Chelsea, I gave a presentation on the literal and symbolic potential of water, as a universal primary need and also as a metaphor for moving beyond objects and commodities towards systems and flows. Sele cted O u t p u ts a n d Ach i e v e m e n ts

Selected Solo Exhibitions 2008–09 The Lion and the Unicorn, Wolverhampton Art Gallery. 2007 Cornford & Cross, Aspex Gallery, Portsmouth. 2005–06 Where is the Work?, Northern Gallery for Contemporary Art, Sunderland. 2003 The Lost Horizon, London School of Economics. 2002 Unrealised: Projects 1997–2002, Nylon Gallery, London.

Cornford & Cross, The Abolition of Work, Artists’ fee and budget in one-penny coins laid on gallery floor, Exchange Gallery, Penzance, 2007

Selected Group Exhibitions 2008–09 Give Me Shelter, Attingham Park, Shropshire. 2005 Tra Monti, Rome, Italy. 2004 Values, 11th Biennial of Pancevo, Serbia and Montenegro. 2004 Perfectly Placed, South London Gallery, London. 2003 A Period Eye, Norwich Castle Museum and Art Gallery. Selected Publications 2009 Cornford & Cross, Black Dog Publishing, London. 2004 ‘Inside Outside.’, in Third Text, vol.18, issue 6. 2004 ‘Unrealised: Projects 1997–2002.’, in Miles, M. (ed.) New Practices/New Pedagogies, Routledge London and New York.

Cornford & Cross, The Once and Future King, Well, ‘crowned’ by razor wire, The Walled Garden, Attingham Park, Shropshire, 2008

Earley Rebecca

Reader

Biography Becky Earley is a Reader in Textiles Environment Design (TED ) at Chelsea, and Associate Director of the University of the Arts London’s Textile Futures research centre (TFRC ). She is a textile designer and academic whose research work and creative practice has sought to develop strategies for the designer to employ in seeking to reduce the environmental impact of textile production, consumption and disposal.

Her recently completed AHRC funded project, ‘Worn Again: Rethinking Recycled Textiles’ (2005–09), investigated the potential for designers to improve the value of textiles through a variety of recycling concepts and processes. The project has had many notable outcomes, including textiles and garments exhibited internationally and collected by museums for their archives, as well as publishing new theory for the practice. Through the work this has become known as the ‘upcycling’ of textiles. Rebecca’s own-label award-winning collections – B. Earley – explore an ‘exhaust printing’ process that she developed in 1998. More recently Rebecca has been working on the ‘Top 100’ project, upcycling polyester shirts using heat photogram and digital technologies. This work, spanning a ten-year period, is currently on show in Craftspace’s Taking Time: Craft and the Slow Revolution exhibition. Rebecca has worked as a research and design consultant for organisations such as the Gucci Group and the Eden Project, the Crafts Council and the Science Museum, and has also designed to commission for companies and individuals including Levi’s, Damian Hirst, Bjork and Kylie Minogue.

(www.tedresearch.net, www.upcyclingtextiles.net, www.beckyearley.com, www.everandagain.info)

Rebecca Earley and Dr Frances Geesin, Jabot Shirt, Top 100 Project, upcycled polyester shirt with silver electroplated lace, Size 10, 2010 (photo by Science Museum, London)

I can be described as a practice-based design researcher in that my research integrates designing both as a mode of investigation and communication of research outcomes. This practice component encompasses a wide range of design related activities. For example, I produce hand and digitally printed textiles for my own label, undertake public art projects and commissions and am an educator, facilitator and curator. R e s e a r c h S tat emen t

I work within the Textiles Environment Design (TED ) research group at Chelsea. This unique project, established in 1996, was the first in the UK that focused on the environmental impacts created at the design stage of textiles. TED places the individual textile practitioner centre stage, where ‘80–90% of the total lifecycle costs of any product (environmental and economic) are determined by the product design before production even begins’ (More For Less, Design Council Report, 1998). Through personal and group research at TED , we’ve developed a series of ‘Design Stories’ – combining environ mentally positive principles and possible strategic solutions – intended to help individuals and small and medium enterprises make more informed design decisions. These are being explored through a broad portfolio of projects and workshop scenarios, which ask the designer to consider up to seven of TED ’s strategies at any one time. The resulting textile product ideas generated at the end point uniquely combine theoretical thinking as well as material, technical, and social concepts.

My interest in the environment emerged as I analysed my own studio design and production practices in 1997. I subsequently developed an exhaust printing technique, which produced hand printed textiles with no water pollution and minimal chemical usage. Since then I have continued to investigate new techniques and theoretical approaches to textile design, working on a variety of research projects and commissions.

Sele cted Output s and Achievement s

Selected Curatorial Projects 2009 Co-curator and panel Chair, Jerwood Contemporary Makers 2009, The Jerwood Space, London and The Dovecote Studios, Edinburgh. 2007 Ever and Again, Triangle Gallery, Chelsea College of Art and Design, London. 2006 TED website, www.tedresearch.net. 2004–07 Well Fashioned: Eco Style in the UK, 2004–2007, The City Gallery, Leicester; City Museum & Records Office, Portsmouth; Crafts Councils Gallery, London.

Earley Rebecca

Selected Group Exhibitions 2010–11 Trash Fashion: Designing Out Waste, Science Museum, London 2010 Eco Fashion, Going Green, MFIT, New York. 2009–11 Taking Time: Craft and the Slow Movement, Birmingham Museum (Craftspace touring). 2008–09 Imaginative Qualities of Actual Things, 3-logy Triennial 2008, Price Tower Arts Centre, Oklahoma, USA (August 2008 – January 2009, with Kate Goldsworthy). 2008 Evolution/Revolution: the Arts and Crafts in Contemporary Fashion and Textiles, Rhode Island School of Design, USA. 2008 TechnoThreads: What Fashion Did Next, Science Gallery, Dublin Ireland. 2007 Refashioned: From Waste to Wear, Science Museum’s Dana Centre, London (Catwalk). 2007 Hometime, British Council exhibition, Shanghai; Beijing, China. 2004 Ethical Fashion, Paris. 2003 Hometime, Chongqing and Guangzhou, China. 2002 Indigo Exhibit 2002, Eden Project, St Austell, Cornwall. 2002 The New Knitting, London College of Fashion, London. 2002 Fabric of Fashion, British Council (Touring). 2002 East London Design Show, London. 2002 Peugeot Design Awards Exhibition, OXO Tower Wharf, London. 2001–02 Great Expectations, Design Council, New York. Selected Awards 2006 Morgan Stanley Great Britons Award (shortlisted). 2005 Arts and Humanities Research Council, award for Ever and Again (www.everandagain.info). 2003 Peugeot Design Awards, Textiles (shortlisted).

Rebecca Earley and Kate Goldsworthy, Twice Upcycled Laser Lace Shirt, Top 100 Project, upcycled polyester shirt with laser lace etching, Size 10, 2008 (photo by Oliver Reed)

Selected Conference Papers and talks 2010 ‘Making Time: Top 100 Project’, keynote lecture, Slow Textiles conference, Stroudwater International Textiles Festival. 2010 ‘Interconnected Design Thinking’, Weissensee Kunsthochschule, Berlin. 2010 ‘B.Earley: Sustainable Design Stories’, Shenkar College, Tel Aviv. 2010 ‘What’s My Textile Footprint?’ Craft Council Rally, Millenium Gallery, Sheffield. 2010 ‘TED: Making Theory Into Textiles’, Craft Council Rally, Millbank, London. 2010 ‘Upcycling Textiles: Adding Value Through Design’, Gucci Group / TFRC. 2010 ‘B.Earley: Sustainable Design Stories’, Future Factory, Nottingham. 2009 ‘Upcycling Polyester: Adding Value Through Design’, Japanese Sashiko textiles conference, York Art Gallery.

2009 ‘IMPACT: Lifecycle Thinking for Textiles and Fashion’, HAW, Hamburg. 2009 ‘Sustainability and Enterprise. Creating Competitive Advantage: British design innovation for Chinese businesses and designers.’, China (co-author with Professor Kay Politowicz). 2009 ‘Sustainability and Craft’, Meet The Makers event, Jerwood Contemporary Makers 2009 exhibition, Jerwood Space, London, (presenter and Chair). 2008 ‘Upcycling Fashion & Textiles: Technology, Ethics, Systems and Appropriateness’, Institute of Mining and Materials; Royal Academy of Engineering, London. 2008 ‘The New Designers: Working Towards Our Eco-Fashion Future’, SOURCE , IM Masters, Design Academy Eindhoven, Holland. 2008 ‘TED at Techno Threads’, Science Gallery, Dublin. 2008 ‘Textiles and the Environment: The Role and Responsibilities of the Textile Designers of the Future’, Stroudwater International Textiles Festival, 21st Century Textiles Symposium. 2007 ‘Textile Futures Salon 2: What Future for Eco Textile Design?’, Institute of Contemporary Art (ICA), London (co-curator and presenter). 2007 ‘Sometimes You Just Have To Do It Yourself’, at Annual Design Conference, Tasmeen Doha, Virginia Commonwealth University School of the Arts. 2007 ‘The New Designers: Working Towards our Eco Fashion Future’, Dressing Rooms: Current Perspectives on Fashion and Textiles conference, Oslo University College, Norway (paper). 2007 Texprint Symposium, London. 2006 ‘Enterprise, Innovation and Environmental Concerns’ at National Enterprise Week, Innovation Centre, Central Saint Martins College of Art and Design, London. 2006 ‘Making (it) Work Together: Creative Collaborations Between Makers, Thinkers, Researchers’, at Intersection / Artquest conference, University of the Arts London. 2005 ‘Eco Fashion Design: Reduce, Recycle, Rethink, Interrogating Fashion’, AHRC research cluster, London College of Fashion.

Fairnington Mark

Reader

Biography Mark Fairnington is a Reader at Wimbledon. His practice is founded on painting as its primary method of research and explores an interest in the lineage of animal painting and its relation to the history of collecting within the natural sciences, probing the image of natural history specimens in collections, in storage and in displays. For a number of years Fairnington has focused his research on the large number of specimens housed in the Natural History Museum, London. The project has been fuelled by a fascination in the way that visual language has been used to describe the specimens and discoveries of the 19th century, when naturalists and collectors were involved in a race to explore and possess the natural world. Fairnington was born in Newcastle in 1957 he now lives and works in London.

He is represented by Fred (London), Art Agents, Hamburg and Peter Zimmermann, Mannheim. R e search Stat e m e n t ‘The subjects of Fairnington’s paintings are made more singular through being painted. He is building a sort of ark – a raft of individual creatures and typologies of painting, which probes the possibility of realism. Despite his finely wrought brushwork and scrupulous pictorial research, there is a sense that he revels in the tendrils of ignorance that still permeate the natural and psychological worlds. Like the vitrines and bell jars that house these specimens, we are all kept in a perpetual bubble of partial truths and convenient lies. The natural world is like raw footage that the artist can script and reframe into a narrative of his own, using the syntax of the fantasist with as much veracity as that of the scientist.’ —Sally O’Reilly, Mark Fairnington, Galerie Peter Zimmermann, 2005

S e lec t e d Output s and Ac hievement s

Selected Solo Exhibitions 2010 Bull Market, Bury St Edmunds Art Gallery, Suffolk. 2009 Private Collection, Galerie Peter Zimmermann, Mannheim, Germany. 2008 Mark Fairnington, Galerie Peter Zimmermann, Mannheim, Germany. 2007 Dynasty, Art Agents, Hamburg. 2006 The Raft, Fred, London. 2005 Galerie Peter Zimmermann, Frankfurt Art Fair. 2004 Galerie Peter Zimmermann, Mannheim, Germany. 2004 Wunderkammer II, Kunsthalle Mannheim, Germany. 2004 Artlab, Imperial College, London. 2003 Mobile Home Gallery, London. Selected Group Exhibitions 2010 21, Harewood House, Leeds. 2010 Blood Tears Faith Doubt, Courtauld Gallery, The Courtauld Institute of Art. 2010 Profusion, Calke Abbey Derbyshire. 2009 40 Artists – 80 Drawings, The Drawing Gallery, Powys. 2009 A Duck for Mr Darwin, Baltic Centre for Contemporary Art, touring to The Mead Gallery, Warwickshire. 2008–09 War and Medicine, The Wellcome Collection, London. 2008 Farmer’s Market, Handel Street Projects. 2008–09 The Artist’s Studio, Compton Verney. 2007–08 Bloedmoo, The Historic Museum Rotterdam. 2005 Young Masters, 148a John Street, London. 2005 Blumenstück.Künstlers Glück, Museum Morsbroich, Leverkusen, Germany. 2005 Infallible in Search of the Real George Eliot, Hatton Gallery, Newcastle. 2004 John Moores 23, Walker Art Gallery, Liverpool. 2004 Fabulous Beasts, The Natural History Museum, London. 2004 The Goat, Medieval Modern, with Olivier Richon. 2004 Transmission Portfolio, Domo Baal Gallery, London. 2003 Transmission Portfolio, Site Gallery, Sheffield. 2003 The Human Zoo, Hatton Gallery, Newcastle. 2003 Infallible in Search of the Real George Eliot, APT Gallery, London. 2003 Mead Gallery, Warwick Arts Centre. 2003 Chockerfuckingblocked, Jeffrey Charles Gallery, London.

Mark Fairnington, Griffon Vulture Surrounded by Moths, oil on canvas, 200 × 93 cm, 2010

Fairnington Mark

Mark Fairnington, The Golden Bushbuck, oil and gold leaf on panel, 50 × 53 cm, 2008

Mark Fairnington, The Glossy Starling Plant, oil on panel, 80 × 40 cm, 2010

Faure Walker James

Reader

Biography James Faure Walker is a Reader at Camberwell and is a painter, digital artist and writer. He studied at St Martins School of Art (1966–70) and the Royal College of Art (1970–72). He has been incorporating computer graphics in his painting since 1988. In 1998 he won the ‘Golden Plotter’ at Computerkunst, Gladbeck, Germany. One-person exhibitions include Galerie Wolf Lieser, Berlin (2003), Galerie der Gegenwart, Wiesbaden, Germany (2000, 2001), Colville Place Gallery, London (1998, 2000), the Whitworth, Manchester (1985). He was one of five English artists commissioned to produce a print for the South African World Cup. Group exhibitions include Digital Pioneers, Victoria & Albert Museum (2009–10), Imaging by Numbers, Block Museum, Illinois, USA (2008), Siggraph, USA (eight times 1995–2007), John Moores (1982, 2002), DAM Gallery (2003, 2005, 2009), Bloomberg Space (2005), Digital Salon, New York (2001), Serpentine Summer Show (1982), Hayward Annual (1979). He has eleven works in the collection of the Victoria & Albert Museum. He co-founded Artscribe magazine in 1976, and edited it for eight years. His writings have appeared in Studio International, Modern Painters, Mute, Computer Generated Imaging, Wired, Garageland, and catalogues for the Tate, Barbican, Computerkunst and Siggraph. His book, Painting the Digital River: How an Artist Learned to Love the Computer, was published by Prentice Hall (USA) in 2006, and was awarded a New England Book Show Award. R e search Stat e m e n t I have become fascinated by the how-to-draw books of the 1920s, and wondered whether I could connect these with the drawing software of our own time. Having published a book on digital painting, a book on digital drawing seemed the next step. The idea of ‘digital drawing’, however, causes some disquiet

in drawing circles, and for my part, I cannot think of it as a coherent concept. The how-to-draw books appear to have a straight forward function, but over the past hundred years they revealed the prejudices of their time, with shafts of insight amidst clouds of ill-temper. ‘Primitives’ are ticked off for incorrect perspective, the ruler is considered cheating, doodling must be repressed, and modernists like Matisse are dismissed as jokers. So when, more recently, we have the incursion of computers into drawing – resented by uptight traditionalists – there are plenty of precedents for re-arranging the priorities. Etching is defended for its ink, painting for its paint, and drawing re-enters the dark ages. The arguments, the doctrines are baffling. Some speak of computer graphics in terms of a renaissance, or at the very least an opportunity to rethink how we set about making drawings. But what we have ended up with is a series of drawing subcultures, blind to any benefit coming either from ‘technology’ or from ‘history’. A survey of assumptions about drawing common in the 1920s shows that what now passes as ‘traditional’, or ‘human-centred’ in drawing, would not have been seen that way by the drawing gurus of that time. What is universal and timeless for one decade – the posed nude for example – doesn’t work for another. Today art education can seem impersonal, overregulated and mesmerised by ‘theory’. So a book that lays down practical principles, whether for drawing, digital art, or installation, would look out of place. The drawing books of the early 20th century – called ‘book academies’ – were banned from the Royal Academy because they could undermine the professors’ endeavours. I wonder how much would ever have been learned from

James Faure Walker, Up, archival inkjet print, 84 × 60 cm, 2009

such handbooks, yet they were a way of opening up the secrets of the studio to amateurs, and circumventing the establishments of the day. ‘Smart’ drawing software, viewed with suspicion for similar reasons, has yet to find its proper role. In my own case I have been using paint software in combination with regular painting methods for over twenty years, and this still throws up its surprises week by week. Sele c ted Output s and Ac hievement s

Publications 2010 ‘On Not Being Able to Draw a Mouse-Trap’, International Journal of Creative Interfaces and Computer Graphics (IJCICG), USA.

2010 ‘A Drawing Book for Digital Eyes’, Linha do Horizonte, Lisbon. 2010 ‘Drawing Machines, Bathing Machines, Motorbikes, the Stars…. Where are the Masterpieces?’ in Tracey, online journal, Loughborough, UK. 2009 ‘Setting the Scene: British abstract painting in the sixties’, catalogue introduction for Sette inglesi a Milano, Galleria Milano, Milan, and Austin Desmond Gallery, London. 2008 ‘Pride, Prejudice and the Pencil’, Garner, S., (ed.) Writing on Drawing, Intellect/ University of Chicago. 2006 Faure Walker, J. Painting the Digital River: How an Artist Learned to Love the Computer, Prentice Hall, USA .

Selected Solo Exhibitions 2009 Window Galleries, Canary Wharf. 2006 Fosterart, London. 2003 Galerie Wolf Lieser, Berlin.

Fortnum Rebecca

Faure Walker James

Reader

James Faure Walker, VIII Colloquy, oil on canvas, 107 × 142 cm, 2009

Selected Group Exhibitions 2010 FIFA South African World Cup, ‘2010 Fine Art Project’, completed in 2009, exhibited at the Finals Draw event, 8 December 2009, Cape Town, and has been exhibited worldwide. 2010 London Group, Cello Factory. 2010 Drawing Spaces, Lisbon. 2009 Digital Pioneers, at the Victoria & Albert Museum, with lecture at accompanying conference in February. 2009 Sunday Times Watercolour Competition, Bankside Galleries. 2009 The Best of Digital Art, DAM Gallery, Berlin. 2009 Mini-Meta, Beardsmore Gallery, London. 2008 Meta, Ruskin Gallery, Cambridge. 2008 Digital Eyes, Los Angeles Municipal Art Gallery, USA. 2008 Space Now (40 years of Space Studios), Triangle Gallery, London. 2008 The Digital View, Arti et Amicitiae Gallery, Amsterdam, Holland. 2008 11th Japan Media Arts Festival, Tokyo, Japan. 2008 Imaging By Numbers: A Historical View of the Computer Print exhibition, the Mary and Leigh Block Museum of Art, Illinois, USA. 2007 Graphite 2007, Digital Art Exhibition, Perth, AU, December. 2007 London Group, (invited window project), Bridge Art Fair, Trafalgar Square, London. 2007 Dark Filament exhibited, Siggraph Art Gallery, San Diego, USA, August. 2007–09 Siggraph travelling Art Show (worldwide). 2007 CADE, Perth, AU. 2006 IDEAS 2006, San Diego, USA. 2006 Computerkunst, Gladbeck, Germany. 2006 London Group, Arti et Amicitiae’s Salon, Amsterdam. 2005 ‘1979’, Bloomberg Space, London. 2003 Siggraph Art Gallery, San Diego.

Selected Conference Papers and Articles 2010 ‘A Drawing Book for Digital Eyes’, O Desenho em Questão – Drawing in Question conference, Faculty of Architecture, Technical University, Lisbon. 2010 ‘Recollections of St Martins’, Shaping Sculpture, Central Saint Martins. 2009 ‘Drawing Lessons for Ants’, ISEA conference, Belfast. 2009 ‘The Origins of Artscribe’, Artists’ Writings conference, Courtauld Institute. 2008 ‘A Drawing Book for a Digital World?’, 100 years of Fine Art, Helwan University, Cairo, Egypt. 2008 ‘Machines, Drawing and Vision: Notes towards a Book on Digital Drawing’, CHArt conference, London. 2007 ‘Translation, Translation, Oh Translation’, Garageland magazine. 2007 ‘Painting Digital, Letting Go’, in Bentkowska-Kafel, A., Cashen, T., Gardiner, T. Futures Past: Twenty Years of Arts Computing, Intellect. 2006 ‘Painting in a Digital World: I told you so’, Siggraph conference, Boston, USA (published in the Electronic Art and Animation Catalogue). 2006 Panel member, ‘Drawing the Future’, Drawing Symposium, National Gallery, London (published by University of the Arts, Farthing, S. (ed.)). 2004 Keynote ‘The reckless and the artless: practical research and digital painting’, Research into Practice conference, University of Hertfordshire (published in Working Papers in Art and Design, refereed journal). 2004 ‘Painting Digital and Letting Go’, CHArt conference Futures Past: Twenty Years of Arts Computing, Birkbeck, University of London (published online).

Biog r a phy Rebecca Fortnum is a Reader and MA Visual Arts (Fine Art) Pathway Leader at Camberwell. She has been an Associate Lecturer at Bath Spa, Central Saint Martins and Chelsea College of Art and Design, a Visiting Fellow in Painting at Plymouth University and at Winchester School of Art, a Research Fellow at Lancaster University, a visiting artist at The School of the Art Institute of Chicago and a Senior Lecturer at Norwich School of Art and Wimbledon College of Art. Awards include the Pollock-Krasner Foundation, the British Council, the Arts Council of England, the British School in Rome and the AHRC. She has had solo shows at the Collective Gallery, Edinburgh, Spacex Gallery, Exeter, Kapil Jariwala Gallery, London, Angel Row Gallery, Nottingham, The Drawing Gallery, London and Gallery 33, Berlin. She was instrumental in founding the artist-run spaces Cubitt Gallery and Gasworks Gallery, both in London and recently participated in Method, a pilot programme for artist/practitioner leader ship development, supported by the Cultural Leadership Programme. She is currently Course Leader of the MA Fine Art at Camberwell College of Art and an external examiner at LASALLE University of the Arts in Singapore. Rese a r ch State me nt My research falls into four related areas; documenting fine artists’ processes; a visual art practice; fine art pedagogic research; contemporary women artists.

My research into visual artists’ making processes has led me to work with artists (including V ong Phaophanit and Paula Kane) finding creative ways to document and reflect on their making processes. Much of this research stems from my research project, ‘Visual Intelligences’ at the Lancaster Institute for Contemporary Arts where

I was a research fellow from 2004–09 and my current publishing project How Art Thinks, with Dr Claire MacDonald. Some of this research is available on visualintelligences.com including an AHRC -funded pilot study to test the methodo logies for documentation of artist’s processes. This website also includes the documentation of two research symposia I organised including ‘Did Hans Namuth Kill Jackson Pollock? The Problem of Documenting the Creative Process’ held at Chelsea in 2007. This research led to my appointment as international lead artist at the TRADE programme in Ireland where I worked with five Irish artists finding ways they could record and reflect on their own processes of making and thinking. Most recently I have begun to write on the role of ‘not knowing’ within the creative process in several conference contri butions and organised a symposium called On Not Knowing; How Artists Think at Kettle’s Yard in Cambridge in 2009. My visual art practice includes painting, drawing, print-making and photographic practice as well as curating. Curatorial projects include Fluent, Painting & Words (2005) and Unframed (2006). I have exhibited with The Drawing Gallery (Shropshire and London) since its inception in 2005. In 2008 I was an artist in residence at London Print Studios as part of the Space for 10 programme (www.spacefor10.org.uk). Most recently I have received a research grant to work with artists from Sint Lucas Art Academy in Gent on a project that examines the relation of drawing to writing. My current work uses text and portraiture to reflect on issues of empathy and communication. In 2009, with other col leagues across the University, I convened Paint Club, an open research network within University of the Arts London (UAL ). This year we hosted an

Fortnum Rebecca

Rebecca Fortnum, work from ‘blind’ series, photo etching, 9 × 12 cm, 2008

‘in conversation’ between Mario Rossi and Michael Borremans at the Art Workers’ Guild as well as other events. I have undertaken pedagogical research including working on UAL ’s project ‘The Teaching Land scape in Creative Subjects’ in which I co-wrote the ‘Fine Art report’ (www.arts.ac.uk/clipcetl-landscapes. htm). In 2009 I completed a University Teaching Fellowship, examining the feedback written in assessment reports at undergraduate level. I have also researched the use of the studio within the

art academy and (with Katrine Hjelde) written on the recent development of fine art practice towards the ‘educational turn’, presenting at the FLAG symposium at Chelsea in 2010, CLTAD conference, Berlin and the GLAD conference at YorkStJohn in 2009. I have a long held interest in contemporary art practices by women artists. I contributed a chapter to Unframed, the politics and practices of women’s contemporary painting edited by Rosemary Betterton 2004 and curated a symposium at

Rebecca Fortnum, work from ‘blind’ series, photo etching, 9 × 12 cm, 2008

Camberwell of the same name in 2005. My book, Contemporary British Women Artists, in their own words, was published in 2007 and received AHRC and Arts Council Funding. Recent activity includes writing for several all women exhi bitions and interviewing artists for BBC Radio 4 Women’s Hour.

Sele cted Output s and Achievement s

Selected Solo Exhibitions 2007 Contemporary British women artists, Camberwell College of Arts, London. 2006 False Sentiment, Gallery 33, Berlin (two person). 2005 June Fitzpatrick Gallery, Maine, USA (two person). 2005 Rebecca Fortnum, The Drawing Gallery, London. Selected Group Exhibitions 2010 Bedizzened, APT Gallery, London. 2009 40 Artists – 80 Drawings, The Drawing Gallery, Shropshire. 2008 The Walls in Three Places, White Nave, Dover. 2008 Life’s a Gas, Beverley Knowles Fine Art, London.

Kikuchi Yuko

Fortnum Rebecca

Reader

2008 The Notebook Project, Festival of Ideas, Cambridge University. 2006 Inspiration to Order, California State University Stanislaus Gallery, USA & The Winchester Gallery, UK and the Wimbledon Gallery, UAL. 2006 Wish You Were Here, A.I.R. Gallery, New York. 2004 Unframed, Standpoint Gallery, Hoxton, London. Selected Publications 2009 ‘Paula Kane: Studio Wall’, editor, How Art Thinks series, ICFAR & RGAP. 2007 Journal of Visual Art Practice edition (6.3), on the documentation of artists processes, co-editor (with Chris Smith). 2006 Contemporary British women artists: in their own words, I.B. Tauris (NY & London). 2004 ‘Seeing and feeling’ (chapter), in Betterton, R. (ed.), Unframed, the practices and politics of women’s contemporary painting, I.B. Tauris, 2004, pp.138–61. Recent Conference Presentations 2010 CLTAD Conference, Berlin 2009 Conference introduction at The Processes of Painting symposium, UAL and ICFAR. 2009 ‘Fine Art’s Pedagogic Turn’, at GLAD conference 2009, with Katrine Hjelde. 2009 Conference introduction at On Not Knowing; how artists think, interdisciplinary symposium Kettle’s Yard, Cambridge. 2008 ‘On Not Knowing What You Are Doing; the importance of the studio to fine art’, at AAH conference, Tate Britain. 2008 ‘On Not Knowing; the Creative Process and the Academy’, at European League of Institute of the Arts (ELIA) Research Meeting, Zurich. 2008 ‘The Internal Quality Audit; how artists judge themselves’, with Dr Claire MacDonald at Sensuous Knowledge 5, Bergen Art Academy, Norway.

Awards 2010 NiVOK research grant, LU Leuven, Belgium. 2009 METHOD, Cultural Leadership Programme. 2007 Faculty of Arts and Social Sciences Research Award. 2006 Lancaster University, Small Research Grant. 2005 AHRC Small Grant in the Creative Arts. 2005 Oppenheim-John Downes Award. 2004 Arts Council Individual Award. 2004 AHRB Small Grant in the Creative Arts. Recent Residencies 2009 Los Gazquez Creative Retreat, Spain. 2007 Space for 10 – The Art House residency / creative development programme. 2007 TRADE residency programme (lead artist with Alfredo Jaar), Roscommon, Ireland.

Biog r a phy Dr Yuko Kikuchi is a Reader in history of art and design. She was born in Tokyo and educated in Japan, the USA and UK. After completing a BA in English and American literature and an MA in American Studies, she worked at the School of East Asian Studies, University of Sheffield. Kikuchi joined the Uni versity of the Arts London in 1994 and currently teaches and supervises research degree students while conducting research as a core member of the TrAIN research centre. Kikuchi’s research interest lies in cross-cultural and transnational issues in relation to non-western modernities in art/design. Her PhD study on the Japanese folk crafts (Mingei) movement opened her eyes not only to the complexity of modernity and national identity in Japan, but also to multiple modernities and inter-regional relations in East Asia. Subsequently, it led to projects on Taiwanese visual culture during Japanese colonisation, and American Cold War cultural intervention in East Asia. As an editorial board member of Journal of Design History in the UK, she is enthusiastically working on the globalisation of the discipline of design history. Rese a r ch State me nt My current research interest is on modernities in art and design in East Asia. The post-colonial cultural debate has shifted from the binary relations of West over East, to inter-relations between East and West, followed by, more recently, East within East and the transnational. Accordingly, my interest has also shifted from Japanese modernity in relation to Euro-American modernity (such as my study on Mingei) to multilateral cultural analysis on East Asian modernities in relation to Euro-American modernity and Japanese modernity (as exempli fied by my study on colonial modernity in Taiwanese visual culture and current research).

East Asia has been a historically and geoculturally shared area, but due to the political disruption and fragmentation brought about by Euro-Ameri can and Japanese colonisation, followed by civil wars and finally the Cold War, cross-regional studies in art and design in the area have not been undertaken. I am currently leading a new international joint project ‘“Oriental” Modernity: Modern Design Development in East Asia, 1920–1990’ to investigate regional and interregional development of modern design in Japan, Korea, China/Taiwan/Hong Kong. Together with local experts in East Asia, this project aims to create a multilateral critical framework for identifying regional differences between East Asian modernities in a shared and refracted Euro-American modernity. For the last three years, I have also been involved in the AHRC funded project ‘Forgotten Japonisme: The Taste for Japanese Art in Britain and the USA , 1920s–1950s’ led by Professor Toshio Watanabe, Director of the T rAIN research centre to investigate 1950’s–60’s American Japonisme. I am also pre paring a monograph on American designer Russel Wright’s intervention in Asia during the Cold War. Sele cted Output s and Achievement s

Published Books 2007 Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, University of Hawaii Press, Honolulu (nominated for the 2009 Charles Rufus Morey Book Award). 2004 Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, London: Routledge/ Curzon. Published Book Chapters/Journal Articles 2008 ‘Decentring the master narrative of art and creating narratives of craft and craft history within design history’, conference proceedings of The 6th International Conference on Design History and Design Studies, Osaka University.

Newman Hayley

Kikuchi Yuko

Reader

2008 ‘Yanagi Soetsu and Korean crafts within the Mingei movement’, in Hoare, J.E. and Pares, S. (eds), ‘Korea: The Past and the Present: Selected Papers from the British Association for Korean Studies BAKS Papers series, 1991–2004’, Folkestone, Kent: Global Oriental. 2008 ‘Russel Wright and Japan: Bridging Japonisme and Good Design through Craft Design’, in Journal of Modern Craft, 1–3. 2006 ‘From Representation to Subjectivity: Taiwanese ‘Vernacular’ Crafts’, proceedings of the papers at International Conference on History and Culture of Taiwan. 2005 ‘Japan and the Mingei movement’, in Livingstone, K. and Parry, L. (eds), International Arts and Crafts, London: Victoria & Albert Publications. 2005 ‘Yanagi Soetsu et l’artisanat traditionnel japonais’, Dossier de l’Art, 118. Curation 2005–06 ‘International Arts and Crafts’ (Japan Section) at the Victoria & Albert Museum; Indianapolis Museum of Art; and Fine Arts Museums of San Francisco.

Yuko Kikuchi, Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, London: RoutledgeCurzon, 2004

Yuko Kikuchi, Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, Honolulu: University of Hawaii Press, 2007

Biog r a phy Hayley Newman is a Reader at Chelsea. She received a BA at Middlesex University before gaining a Higher Postgraduate Diploma in Fine Art at the Slade School of Art. In 1995 she took up a DAAD scholarship in the class of Marina Abramovi ´c at the Hochschule für Bildende Künste, Hamburg after which she was awarded the Stanley Burton practicebased research scholarship at the University of Leeds, completing her PhD in 2001. In 2004/05, she was the recipient of the Helen Chadwick Arts Council of England Fellowship at the British School at Rome and the Ruskin School of Drawing and Fine Art, Oxford. She has performed and exhibited widely and has had solo shows at Matt’s Gallery, London, The Ikon Gallery, Birmingham, Centre d’Art Contemporain, Geneva and The Longside Gallery at the Yorkshire Sculpture Park. She has performed at Camden Arts Centre, South London Gallery, Barbican Art Gallery and The Hayward Gallery. Group exhibitions include Her Noise, South London Gallery, London; Documentary Creations, Kunstmuseum, Lucerne; Camera/Action, Museum of Contemporary Photography, Chicago and Live Culture, Tate Modern, London. She lives and works in London and is represented by Matt’s Gallery. Rese a r ch State me nt I am interested in per formance and performativity, with particular relation to documentary practices, subjectivity, intervention and fiction. My work is often performative and explores ways that context shapes language and action. Recent work has taken the form of a series of public interventions that have served as frameworks for dialogue between participants. Each work encourages conversation to be performed within its given context.

Milton Keynes Vertical Horizontal (MKVH, 2006) was a public event in which volunteers were driven around the Milton Keynes road grid until their coach ran out of diesel. The book MKVH (The Screenplay), 2008, is based on this journey. Written in the style of the original Easy Rider screenplay from 1969, the book is an edited transcript of conversations that took place on the original 39 hour trip. It includes diary entries, photos, drawings, radio interviews, local and national news stories and employs a cut-up technique that mixes fact and fiction into an occasionally seamless narrative. The screenplay builds on ideas around inter-subjectivity, memory and narrative and comments on peak oil with particular relation to the car dependent culture of the new city of Milton Keynes. In 2009 the writer Andrea Mason and I inaugu rated the self-help group Capitalists Anonymous (C.A.), which is a forum for people to come and confess their capitalist tendencies. Originally set up for bankers in the wake of the economic crash, C.A. was seen as a therapeutic intervention that provided ‘a supportive environment in which to share … stories of greed, excess consumption, shopping addiction and explore … fears or excite ment about what’s next?’ The inaugural C.A. meetings took place in June 2009 on the steps of the Royal Exchange in the City of London. The work is part of ongoing interest in economics, the environment and the effects of climate change on people around the world. The Gluts (Collectively Gina Birch, Kaffe Matthews & Hayley Newman) formed in 2009, when we performed our repertoire of songs titled Café Carbon at the Copenhagen Climate Summit. In our performances audiences were offered the opportunity to choose from a menu of songs

Newman Hayley

2005 There is Always an Alternative, Temporary Contemporary and Work and Leisure International London and Manchester. 2005 Plural 2, British School at Rome. 2005 Resonance, Montevideo, Amsterdam. 2005 Documentary Creations, Kunstmuseum Lucerne. 2005 Resonance, Netherlands Media Art Institute, Motevideo, Amsterdam. 2005 Showcase – New works from the Arts Council Collection, South London Gallery, London. 2004 Camera/Action, Museums of Contemporary Photography, Chicago. 2004 Britannia Works, British Council group show, Athens. 2003 Art, Lies and Videotape, Tate Liverpool. 2003 Live Culture, Tate Modern, London. Selected Performances and Projects 2009 C.R.A.S.H culture, Arts Admin, London. 2007 Luck be a Lady Tonight, Alma Enterprises, London. 2006 How to Improve the World; 50 years of the Arts Council Collection, Hayward Gallery, London. 2005 Karaoke Record Cutting, Barbican Art Gallery, London. 2005 Moscio, Rialto, Rome. 2004 ‘Come On’ and Drawing Performance (drawing in collaboration with Yang Zhichao), Soho, Beijing. Gina Birch, Kaffe Matthews and Hayley Newman (a.k.a The Gluts) perform Café Carbon on their way to the Copenhagen Climate Summit, 2009 (photo by Frederika Whitehead)

including starters, main courses, desserts and drinks. For Café Carbon, we wrote eighteen songs about food and climate; subject matter was as diverse as cheap chicken, food transportation, over consumption, water, allotments, mechani zation and the beginning of modernity. At each performance we would open up our Café Carbon and offer a menu of songs to the audience. Wearing black ‘up-cycled’ costumes (made from charity shop finds which would otherwise have been dumped in landfill) we sang along to a 1980s’ Eco-Electro backing track.

Newman Hayley

Authored books 2008 MKVH , Milton Keynes Gallery, Milton Keynes 2004 The Daily Hayley, Matt’s Gallery, London.

Selected Texts 2007 ‘A Secret Sculpture’, in Art U Need – my part in the public art revolution, Bob and Roberta Smith, Black Dog Publishing. 2005 Artists pages in China Live: Reflections on contemporary performance art, Chinese Arts Centre / Live Art Development Agency. 2005 ‘Connotations Performance Images, 1994–1998’, in Live: Art and Performance, Tate Publishing. Selected Presentations/Conference Contributions 2006 ‘Performance and video’ presentation at the 14th International Performance Conference, Artists Association / Blue Space Dalat and Ho Chi Minh City, Vietnam. 2005 ‘Performance to camera and liveness.’, at Video Art; from the margins to the mainstream, Tate Britain. Selected Commissions 2009 Out of Memory, Live Art Development Agency, London. 2006–07 A Secret Sculpture, Rochford Reservoir, Rochford, Essex. 2006 MKVH (Milton Keynes Vertical Horizontal), Milton Keynes Gallery, Milton Keynes. Selected Awards 2004 Arts Council of England Helen Chadwick Fellowship, Ruskin School of Drawing and Fine Art, Oxford and British School at Rome. 2004 One to One Live Art Bursary.

S e lec t e d Output s and Ac hievement s

Selected Solo Exhibitions 2008 MiniFlux, Alt Gallery, Newcastle. 2007 Catch This – New Works from the Arts Council Collection, Longside Gallery, Yorkshire Sculpture Park. 2003 Hayley Newman, Centre d’Art Contemporain, Geneva. 2002 Hayley Newman, Ikon Gallery, Birmingham. Selected Group Exhibitions 2010 The Gluts go to Copenhagen (screening) and Café Carbon (performance), AV10, Newcastle. 2009–10 Emporte-moi / Sweep Me Off My Feet, Musée national des beaux-arts du Québec, Canada and MAC/ VAL , Paris. 2007 Smoke, Pumphouse Gallery, London. 2007 I am Making Art – Chapter 4 Feminism, Centre d’Art Contemporain Genève. 2006 Responding to Rome, Estorick Collection, London. 2006 Für die Ewigkeit, Jet, Berlin. 2006 International Exhibitionist, Curzon Cinema, London. 2005 Chronic Epoch, Beaconsfield, London.

Hayley Newman, MKVH (Milton Keynes Vertical Horizontal), public artwork, 2006

Pavelka Michael

Reader

Biography Michael Pavelka is a Reader at Wimbledon. His theatre design work includes two productions with Lindsey Anderson: The Fishing Trip and Holiday, (Old Vic); with Edward Hall/Propeller Company: Henry V, Winter’s Tale (in the UK , Europe, USA and Far East), and Rose Rage (West End, Chicago and New York – Best Costume Design nomination Jeff Awards, Chicago). Library Theatre Manchester designs include The Life of Galileo (Best Design MEN Awards), plus numerous Shakespeare and Brecht productions.

Pavelka co-produced the Young People’s Shakespeare Festival (Ulaanbaatar, Mongolia) and designed for the first African language Mother Courage and Her Children (NT Uganda, Kennedy Center, Washington DC and Grahamstown Festival, South Africa). Recent work includes Revelations and Off the Wall with Liam Steel (Stan Won’t Dance) at QEH with UK tour and Twelfth Night (Seattle Rep), Taming of the Shrew at the Old Vic, Royal Shakespeare Society (RSC ) and touring internationally. This year, he is working on Merchant of Venice and A Midsummer Night’s Dream (touring internationally). His West End productions include: Constant Wife, How the Other Half Loves, Other People’s Money, Leonardo, Blues in the Night (also Dublin, New York, Tokyo), Macbeth starring Sean Bean, A Midsummer Night’s Dream, A Few Good Men and Absurd Person Singular. Work for the RSC includes: The Odyssey, Two Gentlemen of Verona, Henry V and Julius Caesar and for National Theatre, Edmond starring Kenneth Branagh. R e search Stat e m e n t My current practicebased research continues to extend over a decade of production work with the ensemble company Propeller of which I am a founder member. Each

project now spans a period of eighteen months and has recently involved double bills of plays, produced in England but toured across the UK, continental Europe, North America and the Far East. These radical but accessible productions of Shakespeare’s most challenging and layered works are explored in the context of all-male casting. The scenography supports performance that is characterised by its intensely physical approach, speed and clarity. Cross-gender casting presents opportunities to investigate the language of clothing and movement that are approached in different ways from project to project depending on the metaphorical positions of the characters. The ensemble company framework presents dynamic solutions to Shakespeare’s narratives that are told by a chorus with a specific social identity, unified as a force with costume, music and movement. The chorus are usually being seen to ‘devise’ the stories in view of the audience and underscore them with live soundscapes created with unusual objects as well as musical instruments – their continuous presence provide the focus for scenographic ideas and images. The company is committed to wider accessibility and the productions attract diverse audiences. Its output has been extended to include the publication of ‘pocket’ versions of the texts for educational outreach. Recognition of this work is reflected by extended support from the Arts Council of England and the Department of Education. A second strand of recent work with collaborator Liam Steel involves the exploration of themes through devised visual storytelling with perfor

Michael Pavelka, Henry V, Royal Shakespeare Company, Stratford and Barbican

mers who bridge dance, acting and other dis ciplines such as circus and ‘parcours’. The scenography integrates ambitious engineering with multimedia imagery and attempts to give performers the means to use the entire volume of theatrical space, often suspended. The two strands of research connect when productions with Liam Steel have involved the interpretation of classic stories, such as Dickens, with ensemble companies of performers to find inventive contemporary means of telling familiar epic tales. Sleight of hand is at the root of this work and the design solutions are dependent upon close collaborative partnerships with the creative team.

Sele cted Output s and Achievement s

Selected Performances 2009–10 The Dark Side of Buffoon, Coventry Belgrade B2 and Lyric Hemmersmith. 2009 The Good Soul of Szechuan, Library Theatre Company, Manchester. 2008–09 The Merchant of Venice and A Midsummer Night’s Dream, world tour. 2008 A Midsummer Night’s Dream (reduced version), UK touring. 2008–09 Great Expectations, Library Theatre Company, Manchester. 2008 Absurd Person Singular, Wyndhams Theatre, London West End. 2006 The Taming of the Shrew Propeller / Royal Shakespeare Society co-production. 2005 Oliver Twist, directed by Roger Haines (LTC) and Liam Steele (DV8) Library Theatre, Manchester. 2005 The Winter’s Tale, directed by Edward Hall Propeller Theatre Company at the Watermill.

Quinn Malcolm

Pavelka Michael

Reader

2005 A Few Good Men, directed by David Esbjornson, starring Rob Lowe at West End’s Theatre Royal, Haymarket. 2003 Edmond, directed by Edward Hall, starring Kenneth Branagh at Royal National Theatre (Olivier stage). 2003 Rose Rage (New Production), directed by Edward Hall Chicago Shakespeare Theatre The Duke Theatre on 42nd Street, New York. 2002 The Constant Wife, directed by Edward Hall, West End Apollo, Lyric Theatres. 2002 Rose Rage (Henry VI trilogy in two parts), directed by Edward Hall Propeller Theatre Company. 2002 UK Tour, West End Theatre Royal Haymarket Italy, Turkey, Poland. 2002 Macbeth, directed by Edward Hall Ambassadors Theatre Group, West End Albery Theatre. 2002 A Midsummer Night’s Dream, directed by Edward Hall Propeller Theatre Company, UK and international tour including: Barbados, Germany, Italy, BAM New York.

Selected Exhibitions 2004 Three public sculptures for Cow Parade, including the opening exhibit at Manchester Airport . 2002 ‘Our Henry’, two Designs for 2D>3D exhibits of design process for Henry V and VI, category: The Line in Space, Sheffield. Selected Publications Production photograph and a diary entry in Thomson, P. Mother Courage and Her Children, Cambridge Publications. Selected Awards 2004 Nominated Best Costume Design, Jeff Awards, Chicago, USA. 2003 Winner Best Touring Production, Barclays TMA Award for A Midsummer Night’s Dream. 2002 Winner Best Touring Production, Barclays TMA Award for Rose Rage.

Biog r a phy Dr Malcolm Quinn is Reader in Critical Practice at Wimbledon. His research deals with aesthetics, politics and public culture, using psychoanalytic frameworks to analyse the constitution of speech and the structures of language in art and design. His research in the field of politics and aesthetics began with his book The Swastika: Constructing the Symbol (Routledge 1994), which appeared in the ‘Material Cultures’ series produced by the Department of Anthropology at University College London. This research has since led to published articles, appearances on radio and television, and as an invited speaker discussing political symbolism, totalitarian culture and branding, most recently at a symposium on post-totalitarian space at the Romanian Cultural Institute in 2008. Quinn’s more recent research has employed a Lacanian psychoanalytic framework for the analysis of politics, aesthetics and mass culture. This work has developed since the publication (with Professor Dany Nobus) of a study of the metho dologies of applied psychoanalysis, entitled Knowing Nothing, Staying Stupid: Elements for a Psychoanalytic Epistemology (Routledge 2005). Quinn’s latest work uses Lacanian psychoanalytic models of the social bond, to study the evolution of art and design language in the UK following the Reform Bill of 1832.

My current research is engaged with the role of UK government, muse ums and the early publicly-funded art school, in the development of a unified language for art and design activity through an engagement with public culture and industrial capital, following the Reform Bill of 1832. This work is specifically founded on an investigation of the psychoanalyst Jacques Lacan’s account of the philosopher Jeremy Bentham, an historical account of the Bentham’s Rese a r ch State me nt

Michael Pavelka, Julius Caesar, Royal Shakespeare Company, Stratford and Barbican

followers in the Political Economy Club and the Board of Trade who sat on the Select Committee on Arts and Manufactures in 1835/36, and more generally on an analysis of the politico-aesthetic legacy of utilitarian philosophy, which began with a symposium on J.S. Mill which I led at Tate Britain in 2006, entitled ‘On Liberty and Art’. I have since delivered papers and lectures on this subject at Cambridge University, Bath Spa University, Jan Van Eyck Academy Maastricht, University College London and Yokohama National University, Japan. In an article for Journal of Visual Arts Practice (7:3) in 2008, I claimed that our current understanding of art and design knowledge and research, depends on the development of a unified art and design language within a political economic model of culture in the UK between 1832 and 1852. The evolution of the idea of the art school in Britain in the 1830s was the subject of a symposium I organised at Tate Britain in June 2010, with Professor Sir Christopher Frayling, Dr Martin Myrone, Profes sor Philip Schofield and Professor Richard Whatmore. It is also addressed in a forthcoming article ‘The political economic necessity of the art school 1835–1852’ in The International Journal of Art and Design Education. Sele cted Output s and Achievement s

Published Books 2005 Co-authored with Dr Danny Noubus, Knowing Nothing, Staying Stupid: Elements for a Psychoanalytic Epistemology. Routledge: London. Selected Essays and Articles 2010 ‘Insight and Rigor: A Freudo-Lacanian Approach’, in Biggs, M., Karlsson, H. (eds.) The Routledge Companion to Research in the Arts, Routladge, London. 2009 ‘Education Practice at Tate 1970 – Present’, online essay for Tate Encounters. 2009 ‘Critique conscious and unconscious: listening to the barbarous language of art and design’, in Journal of Visual Arts Practice, 7.3.

Tulloch Carol

Quinn Malcolm

Reader

Biog r a phy Carol Tulloch is Reader in Dress and the African Diaspora. She is a member of the Transnational Art, Identity and Nation research centre (TrAIN), and is currently affiliated to the Research Department at the Victoria & Albert Museum (V&A). She was principal investigator of the Dress and the African Diaspora Network (2006–07), an international endeavour to develop critical thinking on the subject.

2007 ‘Practice-led Research and the Engagement with Truth’, in Reflections on Creativity: Exploring the Role of Theory in Creative Practices. Duncan of Jordanstone College, Dundee University. 2007 Catalogue essay for Ost Property at Danielle Arnaud Gallery. 2006 ‘The Whole World+The Work: questioning context through practice-led research.’ Working Papers in Art and Design, vol.4 (online peer-reviewed journal), Hertfordshire University. 2004 With Dr Naren Barfield, ‘Research as a mode of Construction: Engaging with the artefact in art and design research.’ Working Papers in Art and Design, vol.3 (online peer-reviewed journal), Hertfordshire University. 2003 ‘Teamwork and the Knowledge Base: Doctoral Study and Design Research’ in Proceedings of the Third Doctoral Education in Design Conference, Japanese Academy of Sciences, 2003. Selected Exhibitions 2006 Psychoanalysis and the Arts and Humanities, IGRS Birkbeck University of London (with Sharon Kivland), curated exhibition. 2004 text+work (with Kieran Crowder), The Arts Institute at Bournemouth, included the joint exhibition of paintings by Kieran Crowder and a text by Malcolm Quinn, with a presentation by both exhibitors, a published text and associated website. 2002 Walk The Plank, Gulbenkian Galleries, Royal College of Art, work by tutors in the Design Products course at the Royal College of Art. Selected Presentations and Conference Papers 2009 ‘The education of the eyes of the people by our own Government: Utilitarianism and Sublimation in Public Space 1832–52’, History of Education Society UK Annual Conference. 2009 ‘The Chamber of Horrors: Art Education and Mass Culture’, Cambridge University Faculty of Education. 2008 ‘On Liberty and Art’, Jan Van Eyck Academie Maastricht. 2008 Keynote address: ‘Occupying the Totalitarian Imagination’, at Evicting the Ghost, Romanian Cultural Institute. 2008 Keynote address: ‘Creative Cohesion and Social Impact 1835–2008’, at Creative Scholars Conference, Tate Britain.

Malcolm Quinn and Dany Nobus, Knowing Nothing Staying Stupid, Routledge, 2005

2008 Plenary address at The Art of Giving: the artist in public and private funding, Tate Britain, London. 2008 ‘Art Schools and the Pedagogy of Capital’, at Doctoring Practice Conference, Bath Spa University. 2008 ‘Art History and the Art School: Capitalism, Pedagogy and Superstition’, at Art History and the Art School, Ruskin School of Drawing and Fine Art. Key Committee and Panel Memberships 2008 Peer reviewer, ESRC . 2008 Member, AHRC panel for research leave. 2004 Appointed member of AHRC Peer-Review College.

Tulloch has written and curated exhibitions on dress and black identities, style narratives, cross cultural and transnational relations and cultural heritage. Additionally, her research reviews historical ‘truths’ to present alternative perspec tives on the black body, dress and place. These issues were considered in publications such as: Out of Many, One People’?: The Relativity of Dress, Race and Ethnicity to Jamaica, 1880–1907 (1998), My Man, Let Me Pull Your Coat to Something: Malcolm X (2001), and Strawberries and Cream: Dress, Migration and the Quintessence of Englishness (2002), Black Style (editor, 2004), Interconnecting Routes: Networks, Dress and Critical-Creative Narra tives (2007), Resounding Power of the Afro Comb (2008). Her exhibitions include Nails, Weaves and Naturals: Hairstyles and Nail Art of the African Diaspora, A Day of Record (2001), Tools of the Trade: Memories of Black British Hairdressing (2001), Black British Style (2004), A Riot of Our Own (2008), Being at Home: Familial Dress Relations and the West Indian Front Room (2009), Forthcoming work includes Dress and the African Diaspora (editor, 2010), and the exhibition The New Domesticity (2010).

Re se a r ch State me nt My current research continues with the telling of selves through the dressed black body, which has progressed through the inclusion of narrative studies. This line of inquiry has shifted to understand how individuals negotiate this within diverse contexts – locally, nationally or internationally. Therefore the work has begun to include other groups with similar experience, and/or cultural collaboration, with people of the African Diaspora in order to develop a dialogue in the telling and place of individuals and groups. This has partly developed out of the AHRC funded ‘Dress and the African Diaspora Network’ which I co-ordinated from 2006–07. Material and visual culture remain central to this investigation, but a wider range of media beyond my usual focus of garments, accessories and photography are now being used. This exploration is being conducted through writing and curating.

Sele cted Output s and Achievement s

Selected Solo Exhibitions Principle Investigator for the ‘Dress and the African Diaspora Network’ which was part of the AHRC initiative Diasporas, Migrations and Identity: Research Networks and Workshops Scheme (completed December 2007). Selected Publications 2009 ‘Resounding Power of the Afro Comb’ in Cheang, S. and Biddle-Perry, G. (eds) Hair: Styling, Culture and Fashion, Oxford, New York: Berg. 2008 A Riot of Our Own, editor, London: Chelsea Space. 2007 ‘Interconnecting Routes: Networks, Dress and CriticalCreative Narratives’, in Elke aus dem Moore (ed.) Les Histoires Communes: Kunst Und Mode. Kleidung als Ort der Selbsterfindung, Stuttgart: Künstlerhaus. 2006 ‘Altered States: Susan Stockwell in Crafts’, in The Magazine of Contemporary Craft, #198. 2005 ‘Picture This, The Black Curator’, in Littler, J. and Naidoo, R. (eds), The Politics of Heritage, the Legacies of Race, London, New York: Routledge. 2004 Black Style, editor, London: Victoria & Albert Publications.

Tulloch Carol

Selected Curatorial Projects 2008 A Riot of Our Own, Exhibition, Chelsea Space, London, 2004–06 Co-curator Black British Style, Victoria & Albert Museum, London (touring: Manchester Art Gallery; Cartwright Hall Art Gallery, Bradford; New Walk Museum and Art Gallery, Leicester; Birmingham Museum and Art Gallery 2002 Picture This: Representations of Black People in Product Promotion, Black Cultural Archives Gallery. Selected Lectures/Talks 2009 ‘We Too Should Walk in the Newness of Life: Style Narratives of the African Diaspora’, for the ‘Ethnic Costumes and Non-Material Cultural Heritage Preservation’ panel at 16th International Congress of Anthropological and Ethnological Sciences, Kunming, China. 2009 ‘Style-Fashion-Dress; From “Black” to “Post-black”’, at Fashioning Diasporas conference, Victoria & Albert Museum, London. 2009 ‘“A Riot of Our Own”: Style, “Blackness” and New Directions’, at Subculture and Style conference, Fashion Institute of Technology, New York. 2007 ‘What Next? A Researcher’s Thinking Around Future Projects’, University of Brighton, School of Historical and Cultural Studies Evening lecture series. 2006 ‘Fashionable Marks on Black Identities,’ at South African Fashion Week Seminar Series, Sandton Convention Centre, Johannesburg.

Tulloch Carol

Selected Conference Papers 2009 ‘Rock Against Racism 1979–1981’ at MetaNational: Re/Postitionierung – Critical Whiteness/Perspectives of Color, Neue Gesellschaft fur Bildende Kunst, Berlin. 2008 ‘What’s the Connection? Dress as Auto/Biography in the Jamaican Memories and the Shelton Family Archives’, at Keeping up Appearances: Dress & Auto/ Biography, Auto/Biography Study Group Christmas conference. 2008 ‘Connecting the Dots: Networks on Dress and the African Diaspora’, for the conference panel ‘Dress and the African Diaspora Network, A Transnational Research Collective’ at the Networks of Design, Design History Annual Conference, Falmouth. 2007 ‘Take a Researcher Like Me: Dress, Black Identities and the Autobiographical/I’, at Belonging in Britain, New Narratives/Old Stories: Race, Heritage and Cultural Identity symposium, University College Falmouth. 2007 ‘Me and Thee: Reflections of a Black British Researcher of Dress, the Aesthetic Self and the African Diaspora’, at the Annual Auto/Biography Conference, Trinity College, Dublin.

Cushion Cover hand and machine sewn by Mrs Gloria Bennett, Doncaster, South Yorkshire, 1960s.

A Riot Of Our Own, exhibition, Chelsea Space, London, 2008

Research Centres 94

Running headlines

Ligatus

TrAIN

Ligatus

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

The Ligatus research unit 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 modern digital data analysis and collection management tools. Current projects include:

also be the repository of an additional, unrivalled collection of materials relating to the history of bookbinding donated by key scholars who have worked internationally in major public and private collections.

John Latham Archive The visionary British artist John Latham died on 1 January 2006. His influence on the Saint Catherine’s Monastery Library Project, Mount visual arts is remarkable and yet consistently Sinai, Egypt The monastery of St Catherine in the Sinai, Egypt, under-represented in the literature. His philo sophical ideas on Events and Event Structures is the oldest active Christian monastery in the world. The monastery’s library holds a unique and ‘Flat Time Theory’, a unifying overview of the world, are fascinating, complex and collection of Byzantine manuscripts. Ligatus has undertaken the task of assessing the condition worthy of serious study. By focusing on such an original, highly theoretical artist, the John of the manuscripts, is designing a new con Latham Archive project argues for the need servation workshop and is advising on further for creative solutions to the methodological conservation work. and technical challenges posed by artists’ archives. These solutions will be tested against, Funded by the Saint Catherine Foundation with and adapted to, other private and institutional additional support from the Headley Trust. archives. Bookbinding Glossary Funded by the AHRC and the Henry Moore A project to create a detailed bookbinding glossary which can be edited on-line by experts Foundation. located in different countries. The glossary will also serve as the basis for an on-line descriptive Exhibition Archives process to record bookbindings. It will first appear The history of exhibitions, particularly of in English and Greek. contemporary art exhibitions from the late 1960s, is an emerging field of investigation at the Funded by the Arts & Humanities Research convergence of art history, curatorial and social Council (AHRC ). studies. As a centre dedicated to the study of archives and conservation, Ligatus aims to develop theoretical and practical frameworks for Digital archive of bookbinding the analysis of exhibitions. Projects related to 30 000 slides of the bound manuscripts in the Saint Catherine’s Monastery Library, taken as part this axis of research include an online resource for the exchange of information about exhibitions of the survey, have already been digitised with and a series of workshops devoted to specific funding from the Headley Trust and are now joined by a large collection of digital images of the exhibition archives. bindings on the early printed books. Ligatus will

Ligatus Summer Schools The Ligatus Summer Schools aim to uncover the possibilities latent in the detailed study of bookbinding and focus mainly on books which have been bound between the 15th and the early 19th century. Over the past four years courses have taken place in Volos, Patmos and Thessaloniki. The courses also offer visits to important local libraries, both secular and monastic. A knowledge of the structure of bindings can help conservators, librarians, book historians and scholars who work with old books to understand the age, provenance and significance of bindings for historical research and cataloguing, as well as to make appropriate decisions regarding conservation treatments,

housing and access. Descriptions of bindings are also important for digitisation projects, as they dramatically enrich the potential of image and text metadata. This is particularly important for collections of manuscripts and early printed books. Ligatus areas of PhD research: > The interface of new technologies and creative practice. > Historic bookbinding in Europe, the Middle East and the Americas. > Digital applications to bookbinding and conservation. > Creative archiving. > Online archiving. Ligatus cooperates with many institutions notably including: > School of Advanced Study, University of London. > Centre for the Study of the Book, Bodleian Library in Oxford University. > Museum of Byzantine Culture in Thessaloniki, Greece. > Institute of Byzantine Research, Athens, Greece. > Istituto centrale per il restauro e la conservazione del patrimonio archivistico e librario, Rome, Italy. > Wellcome Trust Library, London. (www.ligatus.org.uk)

Detail of board marker from MS Arabica 175 (St Catherine’s Monastery).

TrAIN

Director: Professor Toshio Watanabe, Deputy Director: Professor Oriana Baddeley, Associate Director: Professor Deborah Cherry (Central Saint martins)

colleges of the University of the Arts London: Camberwell College of Arts, Chelsea College of Art & Design, Wimbledon College of Art and Central Saint Martins College of Art and Design. It also includes a community of postgraduate students pursuing historical, theoretical and In an increasingly complex period of globalisation, practice-based research degrees at both MA and established certainties about the nature of PhD level. culture, tradition and authenticity are being constantly questioned. The movement of peoples Members contribute to T rAIN ’s activities by and artefacts is breaking down and producing completing group and individual research new identities outside and beyond those of projects and through the supervision of relevant the nation state. It is no longer easy to define the postgraduate study. Issues and debates arising nature of the local and the international, and from research activities are disseminated by many cultural interactions now operate on the T rAIN conferences, exhibitions and publications. level of the transnational. Focusing on how Throughout the academic year, T rAIN organises the movement of both people and artefacts breaks public events such as the TrAIN Open Lectures at down borders and produces new identities Chelsea College of Art and Design and TrAIN beyond those of the nation state; the Centre aims Conversations at Central Saint Martins at which to contribute to both creativity and cultural artists, theorists and curators present their understanding. work and ideas. For more details about the centres activities, core members and visiting scholars, please go to its website at transnational.org.uk. T rAIN is a dynamic research forum for interna tionally recognised scholars and practitioners, Key partnerships include the TrAIN/Gasworks inside and outside the University of the Arts Artists’ Residency, an international residency London. T rAIN offers research excellence which raises specific questions for individual and leadership through its coherent programme artists, and wider issues regarding how both of events and projects, and brings together research in transnational issues in art and design, local and international contexts are negotiated in practice; the TrAIN-KSB Residency Exchange both globally and locally. Central to the Centre’s In which T rAIN and the Kunstlerhaus Schloss activities is a consideration of the impact of identity and nation on the production and Balmoral collaborate on a Artist-in-Residence consumption of artworks and artefacts in this exchange programme. In Autumn 2010, T rAIN new global context. Transnational relationships will host the first of a series of Fullbright Visiting are explored through crossings that traverse Distinguished Chairs in partnership with the different media including fine art, design, craft, Tate Gallery. curation, performance and popular art forms. Current T rAIN research projects include Forgotten The centre involves internationally recognised Japonisme, the Taste for Japanese Art in Britain and scholars and practitioners at several of the the USA, 1920s–1950s (AHRC funded); Meeting The University of the Arts London research centre for Transnational Art, Identity and Nation (T rAIN ) is a forum for historical, theoretical and practice based research in architecture, art, communication, craft and design.

Margins, Transnational Art in Latin America and Europe, 1950–1978 (in collaboration with the University of Essex, AHRC funded). Previous T rAIN projects include British Empire and Design; Ruskin in Japan, 1890–1940, Nature for Art, Art for Life; Other Modernities; Refracted Colonial Modernities: Identities in Taiwanese Art and Design; and Modernity and National Identity in Art: India, Japan and Mexico, 1860s–1940s.

Antonio Manuel, Ocupações / Descobrimentos (Occupations / Discoveries – installation view), Museum of Contemporary Art Niterói, 1998 (photo by V. de Mello)

Research degrees

101

102

MPhil / PhD

103

A collaborative endeavour

105

Current Research Degree Supervisors

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MPhil / PhD

A collaborative endeavour

103

professor Stephen Scrivener

The University of the Arts London offers the following research degrees in full and part time modes: > Master of Philosphy (MPhil) full time: 1 year 3 months – 3 years part time: 2 years – 6 years > Doctor of Philosophy (PhD) full time: 2 years – 4 years part time: 3 years – 8 years

Education can often seem like a one-way street along which knowledge is transferred from teacher to student. Of course, this is not really the case and at its best education is learning in both directions. This reciprocity tends to increase with educational level, reaching its pinnacle with the doctoral studies. Indeed, the culmination of doctoral study, the PhD, amounts to a reversal of transfer. The supervisor must learn from the student: if the supervisor learns nothing new, then the student has found nothing new to learn. Hence, undertaking a doctoral programme of study is more than the acquisition of knowledge and competencies: it is a process in which new knowledge is made. It is also a process in which the student enters a community of researchers whose members are committed to learning from each other. So our task is clear to see: our task is not simply to tell you how to be a researcher and how to do research, it is also to empower you as an active member of the research community. We will prepare you to be a researcher by deepening your understanding of your field and your powers of critical evaluation and synthesis. We will introduce you to ways of understanding research, research methodologies and modes of research communication. We will do this at a number of levels: generic, subject specific and as an active participant in a research culture. We will do this in a number of ways: through one-to-one supervision; through the university wide Research Network University of the Arts London (RNUAL ) programme; through CCW training workshops and seminars; and through active participation in the Graduate School research student and staff community and the external research communities. We will empower you as an active member of a research community. First, you will be accepted as a voice in the Graduate School research community. This means that you will be given the opportunity to participate in the shaping of this community and, in particular, the shaping of your own experience as a doctoral student within it. Indeed, this is not simply an offer, it is an expectation: if your only interest is your interests then the CCW Graduate School is probably not for you and you are probably not for it. Second, we invite you to help us to make the CCW Graduate School doctoral programme a field of excellence in art and design research. Third, we will support your participation in and influencing of the wider research communities in which your research interests are located.

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A collaborative endeavour

Current Research Degree Supervisors

And, finally, you will be aware the art and design research is a developing field. From my own experience, the position is not unlike the field of computer science research, which in the late 1960s and early 1970s was also shaping its own identity. To be part of this moment as a doctoral student was incredibly exciting, but also daunting as the rules of engagement were not clearly defined in relation older fields of research. Being a computer science doctoral student was not simply about learning how to do computer science research, it was also about defining what it meant to do it. Hence, computer science doctoral students did not simply apply the practices of their field; they were instrumental in shaping them. We, the Graduate School staff and student researchers and the art and design research com munity as a whole, find ourselves in a similar position. We believe that the Graduate School is making, and will continue to make, a significant contribution to the shaping of a pluralistic and emancipating understanding of art and design research. And when I say we, I include you.

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

Addison Gill, Fine art and expanded documentary practices. Asbury Michael, Art history and theory and modernism and contemporary art in Brazil. Baddeley Oriana, Art history and theory, transnational art, mexican art, cultural identity, latin american art and cultural hybridity. Baseman Jordan, Fine art: practice, theory, history of video, film painting, sculpture, digital arts, drawing and sound. Baxter Hilary, Costume and theatre design. Beech David, Contemporary art practices and debates, the public sphere and politically engaged practices. Bircham Lorna, Textile design, new materials and environmental impact. Biswas Sutapa, Studio practice. Fine art: film, video, drawing, painting, historical and cultural studies. Blacklock George, Fine art, painting and abstract pictorial space. Boyce Sonia, Fine art practice and drawing. Cartledge Frank, Design communication, representa tions of domestic spaces and mediums as technological interventions. Chalkley Brian, Fine art, transgender identity, performance, drawing painting, book publication, video, performance and story telling. 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. Cussans John, Fine art, new media, psychological models and the evolution of media technologies. 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.

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Earley Rebecca, Eco-design, fashion, textiles, new textile technologies and contemporary craft practice. Elwes Catherine, Artists’ film and video, feminist art, wartime SAS. Fairnington Mark, Fine art painting. Farthing Stephen, Drawing, pedagogy and cross disciplinarity. Faure Walker James, Painting, digital arts, drawing and criticism. Fortnum Rebecca, Painting, documentation, visual intelligence and feminism. Francis Mary Anne, Authorship and agency, the radically diverse artist and social art practices. Garcia David, Tactical media – the impact of the rise of small scale DIY media and tools and networks in art, social and political activism and the rise of new social movements. Ghazi Babak, The creative individual, fine art production, object-based presentations, 2D and time-based media, meaning, intention and control. Graves Eve, Museology and conservation, meaning a material culture, intangible heritage and Intercultural communication. Gunning Lucy, Fine art, the ‘in between’, currently in relation to architecture and the social Implications of formlessness, in relation to place and behaviour. Johanknecht Susan, Artists’ books, book art, contemporary poetics, small press publishing, The artists’ book as a site for poetic and collaborative practice. Kikuchi Yuko, Art, design and craft history in Britain, Japan and Taiwan. Modernity and national identity in non-western visual cultures. Maloney Peter, Parallel spaces, virtual reality and simulation, media arts, models and visual thought/idea visualisation. Newman Hayley, Performance and ‘liveness’, relation ship between performance and its documentation. O’Brien Tamiko, Fine art, sculpture, site-based art practice and collaborative art practice. O’Riley Tim, Animation, film, photographic works, rela tionships between art, science, literature and narrative. Pickwoad Nicholas, Book and library conservation, devising new techniques and methods to document material. Politowicz Kay, Development of textiles within interiors, textile design and production with an environmental agenda and addressing design problems.

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Current research Degree Supervisors

Quinn Malcolm, Critical practice. Sandino Linda, History and theory of the applied arts, the role of narrated life stories and identity formation of practitioners in creative industries. Sandy Mark, Haptic technologies within conservation training, properties of cellulose and paper in relation to deterioration and conservation. Scrivener Stephen, Collaborative design, computermediated design, user-centred participatory design, practice-based research. Simonson Caryn, Textiles, photography, video, sculpture and Installation in a contemporary textiles context. Smith Dan, Fine art theory, notions of archive, memory and the utopian impulse within cultural forms. Thomas Jennet, Experimental and narrative film and video. Throp Mo, Fine art, curating, practitioner, researcher, teacher identity, subjectivity, feminism, psychoanalysis. Tulloch Carol, dress and textiles associated with the african diaspora, material and visual culture, writing and curating. Velios Athanasios, Computer applications to conservation, digitisation, digital preservation, the concept of ethics in digital conservation and preservation. Walsh Maria, Artistâ&#x20AC;&#x2122;s film and video, installation, film narrative and theory, spectatorship, phenomenology, performative writing, subjectivity and feminisms. Wainwright Chris, Photography, fine art, light forms, video, curating, climate change and cultural responses to the environment. Watanabe Toshio, Transnational art, art, architecture and design of victorian and Edwardian Britain and Japan 1850â&#x20AC;&#x201C;1950, japonisme and orientalism. Whitelegg Isobel, Modern and contemporary latin american art, curatorship. Wilder Ken, Projective space, installation art, video sculpture, spatial practice, philosophy of art.

Taught Postgraduate Courses 108

Running headlines

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Taught postgraduate courses in CCW

(Camberwell)

112

Postgraduate Diploma Conservation

113

MA Visual Arts (Book Arts)

114

Ma Visual Arts (Designer-Maker)

115

MA Visual Arts (Digital Arts)

116

MA Visual Arts (Digital Arts Online)

117

MA Visual Arts (Fine Art)

118

Ma Visual Arts (Graphic Design)

119

MA Visual Arts (Illustration)

120

Ma Visual Arts (Printmaking)

121

MA Conservation

(Chelsea)

122

POSTGRADUATE DIPLOMA FINE ART

123

MA Fine Art

124

Ma Graphic Design Communication

125

MA INTERIOR & SPATIAL DESIGN

126

Ma Textile Design

127

MA Curating

128

Ma Art Theory

(Wimbledon)

129

MA Fine Art

130

MA VISUAL LANGUAGE OF PERFORMACE

131

MRes (Masters of Research)

109

110

Taught postgraduate courses in CCW

The taught postgraduate courses in CCW form an important aspect of the Graduate School. They are all located and delivered in one or more of the three colleges and represent the core disciplines of CCW . Since the development of the Graduate School there is now an opportunity to establish cross course links based around the key thematic concerns of the Graduate School. Students from our taught postgraduate courses are also encouraged to participate in a wide range of dialogues and events along with research degree students. In addition they also benefit from the experience and teaching contributions from our prominent professors, readers and fellows. We have developed a range of new taught postgraduate courses and opportunities including new courses in curating, art theory and a broad based MRes as a preparation for research degrees. In addition over the next few years we anticipate the development of new courses and the developÂ ment of existing courses by adding new pathways. We are also looking at the preparation for taught postgraduate courses and will be introducing specific preparation courses that offer guaranteed progression to CCW masters level courses on successful completion. For up to date details of these and other exciting developments in taught postgraduate programmes and courses at CCW there are regular updates on the collegeâ&#x20AC;&#x2122;s web sites. www.camberwell.arts.ac.uk/Graduate-School-Courses.htm www.chelsea.arts.ac.uk/courses/Graduate-School-Courses.htm www.wimbledon.arts.ac.uk/courses/Graduate-School-Courses.htm

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C our se s sta rting in Octob e r 2011

MFA

This new two year MFA course will build on the existing successful one year MA Fine Art course at Wimbledon with a focus on developing artist practice. MA Drawing

This new one year course will build on a strong Drawing tradition at both Camberwell and Wimbledon Colleges and will be committed to encouraging the exploration and practice of drawing across all design and art subject areas. New programmes will be introduced so please check the websites for up to date information on the CCW Graduate School courses.

112

Postgraduate Diploma Conservation

MA Visual Arts (Book Arts)

Camberwell College of Arts

The Postgraduate Diploma in Conservation is designed for students who wish to study Conservation at postgraduate level, but who do not have the specialist degree qualification needed for an MA. The course is open to applicants who have no previous experience of paper conservation. It will enable students from diverse academic or professional backgrounds to develop specialist skills, knowledge and focus in preparation for practice in the field or further study at MA level.

Camberwell was the first college in the UK to provide specialist post graduate study in the emerging field of Book Arts. Fuelled by advances in electronic information media and online publishing, the book has been freed from the traditional role as a container of information. Ongoing debates concerning the cultural, individual and creative functions of the book underpin course discussions.

The Postgraduate Diploma is an intensive introduction to the theory and practice of paper conservation, and relevant areas of conservation science and museology. Teaching consists of practical classes, lectures and seminars in paper conservation techniques, conservation of parchment, basic book binding, conservation science and museology. A programme of visits to curatorial and conservation departments in London is also part of the course. Many graduates from the Postgraduate Diploma in Conservation have gone on to study on the MA in Conservation at Camberwell or at the Royal College of Art, the Courtauld Institute of Art, the Textile Conservation Centre and the University of Northumbria. Other graduates have attended conservation internships or employment as conservators with various institutions including the London Metropolitan Archive and Hampton Court Palace.

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To develop and explore your study proposal you will be asked to research the content, materials and technical skills – producing written and practical work. Studies are complemented by lectures, seminars and workshops designed to help you develop wider contextual understanding, research skills and awareness of professional issues. MA Visual Arts (Book Arts) is part of the postgraduate community at Camberwell and benefits from the interaction with the pathways of other subjects. There is a shared lecture programme, which draws upon the richness of research within the College and across the Graduate School.

We are able to offer our students many outstanding opportunities outside of the College, such as participation on course stands at Artists’ Book Fairs and visits to special collections such as those at the Tate, John Latham’s FlatTime House and the National Art Library at the Victoria & Albert Museum. A public exhibition at the end of the final unit gives students the possibility to explore the expanded book in a display or installation. The skills and knowledge developed on this course have led graduates into careers as book artists, curators, freelance designers, workshop leaders and teachers. Our graduates have won many prizes including; Sovereign Asian Art Prize, Craft Council Development Awards, the Seoul Book Fair Prize and the London Book Fair Prize.

114

Ma Visual Arts (Designer-Maker)

MA Visual Arts (Digital Arts)

Camberwell College of Arts

This pathway engages with the renewed interest and status of the craft object and small batch production and its role in design. The role of designer-maker is undergoing an evaluation, away from a marginal activity to one which engages with other disciplines, Fine Art and Design. The value of the one-off or short run production product has been brought to the attention of a broad audience of makers, collectors and industry.

The 21st century has seen digital technology rapidly expand into main stream culture, with the internet offering a truly global audience. Art now exists outside the gallery and the accompanying critical debate has made the same transition.

The course welcomes applicants from both Fine Art and Design back grounds, including architecture, craft production, makers involved with one-off or small batch production, ceramicists, prototype designers, jewellery designers and metal workers. MA Visual Arts (Designer-Maker) is part of the postgraduate community at Camberwell and benefits from the interaction with the pathways of other subjects. This helps the development of research skills and offers enhanced opportunities for career development. There is also a shared lecture programme, which draws upon the richness of research within the College and across the Graduate School. We offer our students many opportunities to attend industry events, visit special collections and network with the creative industry. A public exhibition at the end of the second unit gives students the possibility to explore the location of their work in a professional context. The skills and knowledge developed on this course lead to careers as practitioners, creative industry professionals, curators, freelance designers, workshop leaders and teachers with a potential to progress to PhD study.

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Our environment has changed beyond recognition, as public, private, commercial and artistic data floats around us in a digital state. It is this challenge of understanding and interpreting ‘the digital’ in our contemporary environment that is the focus of the course. The pathway does not focus on technology, but presents it as a tool to facilitate ideas, placing emphasis upon its creative use. MA Visual Arts (Digital Arts) is part of the postgraduate community at Camberwell and there are a number of ways in which the pathways interact, most notably through research skills and career development. There is also a shared lecture programme, which draws upon the richness of research within the College and throughout the Graduate School. This course attracts students from diverse backgrounds, which reflects the role of Digital Arts in the 21st century. Students on the course are encouraged to engage at all levels of professional development, from showcasing work in venues around the College, as well as participating in themed gallery events within the College. Students actively work with the Research Department of the College so they get to develop an understanding of research in an academic context, and also develop an understanding of the role of research in industry. Our students are employed in the design, graphic and moving image industries. There are a number who are self employed, running their own creative businesses, and also arts based practitioners, who are regularly exhibiting in galleries and moving image festivals.

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MA Visual Arts (Digital Arts Online)

MA Visual Arts (Fine Art)

Camberwell College of Arts

This popular course offers students the chance to study for the MA Visual Arts course online. For many students this offers the advantage that they can develop their careers whilst remaining employed.

This pathway takes a cross-disciplinary approach to Fine Art, welcoming students working in all media. The pathway works with students with mature practices, challenging established ways of working and developing peer support networks. Drawing upon local, national and international contexts, it focuses on contemporary art practice and its relation to audience. The course supports both material and dematerialized practices, with a significant number of artists working in relational and event-based art as well as; painting, drawing, object-making, installation, photography, performance and other time-based media. The development of practice is sustained by lectures, seminars and workshops designed to help develop wider contextual understanding, research skills and an awareness of professional issues. Students may attend critiques with other MA Fine Art courses at Chelsea and Wimbledon, as well as open seminars with the MA Visual Art’s other pathways. They also have the opportunity to partici pate in CCW Graduate School events, such as the Festival and Graduate Futures.

Digital technology has embedded itself so deeply in creative practice, that it is no longer questioned as a tool or medium. In response, our students are encouraged to challenge, question and explore the theoretical implications of this technology. They examine the digital production of, and digital interaction with, artworks. A project proposal allows students to embark on detailed research into their chosen area. The use of blogs and wikis by all students and staff is vital to encouraging collaboration and building a dynamic cohort, based across the UK, Europe and the globe. Themed exhibitions and events are aimed at developing communication and encouraging students to explore the possibilities of communication in the digital era. Weekly chat sessions form the basis of engagement between students and the College. These real time chat sessions will also become the centre of collaborative presentations between the face-to-face and the online pathway. Blogs will be used to supply weekly updates on project progress, and also form the basis for chat, tutorials and assessment. Students have become very inventive in the tools they are using to communicate, ranging from blogs and wikis to podcasting. Students join this course from all creative backgrounds: Graphics, Fine Art, Illustration and Architecture. The projects they develop range from motion graphics, moving image and animation, to sensor based interaction and web based interaction. Our students are employed in the design, graphic and moving image industries. There are a number who are self employed, running their own creative businesses, and also arts based practitioners, who are regularly exhibiting in galleries and moving image festivals.

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Students on this course are highly motivated and independent. Last year they developed projects and collaborations across the course and within University of the Arts London (UAL ). For example Fine Art students took part in projects such as Cannizaro Park at Wimbledon, Peckham Space at Camberwell, Chelsea Parade Ground, site-specific residencies at Byam Shaw and ‘Xhibit’ at LCC , as well as gaining UAL and AHRC bursaries for their studies. They have also worked on a range of external projects including, a curatorial workshop at AutoItalia (artists runs space) and events at Tate, The Roundhouse, The Photographers Gallery and at the Los Gazquez creative retreat in Spain. Students run their own regular Salon, a space for critical discussion, with the South London Gallery and participate in seminars at nearby Flat-Time House (John Latham’s archive). The year culminates in a public exhibition at the end of the second unit, giving students the opportunity to explore their work within a professional context. Graduating students go on to work as artists and art professionals with many interested in developing their projects into research (MPhil and PhD) applications, within the University and elsewhere.

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Ma Visual Arts (Graphic Design)

MA Visual Arts (Illustration)

Camberwell College of Arts

At Camberwell we challenge the idea that visual communication is a neutral activity. By studying at Camberwell, you will take issue with the content and the context of your design work. Our aim is to help you develop research skills and generate concepts to support visual commu nication. Information, skills and ideas at the beginning of the course gradually allow you to develop your project independently. Our staff team includes practicing professionals who exhibit work in moving image, typography and contemporary art; complemented by guest lectures from contemporary practitioners.

Illustration in the 21st Century demands strong voices: entrepreneurial image-makers who can tell their own stories. Camberwell College of Arts has a long tradition of imaginative illustrative art, and this pathway builds on this strength.

Workshops are available in design for print, photography, video, and letter press typography. We also use London as an expanded learning environment for creative and critical interaction, with study visits to exhibitions, pro duction facilities and creative environments. You define and develop your own project, to combine your ideas, experience and interests and connect with a particular audience or group of people. The pathway in Graphic Design at Camberwell helps you prepare for highlevel professional practice. With a research oriented and socially engaged ethos, the focus is on delivering outcomes in the public domain. We encourage you to collaborate with external organizations and we help you realise your potential to get the best results. By exhibiting your work in the end of year show you complete your postgraduate study and prepare for professional practice. Successful graduates from this course have won awards including a silver, gold and Grand Prix at the Commu nication Exhibition in Brazil, exhibited work at the Barbican, been awarded scholarships and won places on the Student Associates Scheme of the Institute of Education in London.

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A series of seminars, workshop inductions, research time and field trips, will familiarise you with the College environment, the city of London, and the work of fellow students and staff. You will begin to develop your proposal: an ambitious and engaging project to sustain you throughout the pathway. We offer you time to implement both critical and practical skills. The development of your personal project is also a time in which to consider how your practice continues and the directions you may choose to take. Many students choose to participate in external ventures, competitions or exhibitions and form their own discussion groups. MA Visual Arts (Illus tration) is part of the postgraduate community at Camberwell and benefits from the interaction with the pathways of other subjects. This helps the development of research skills and offers enhanced opportunities for career development. There is also a shared lecture programme, which draws upon the richness of research within the College and across the Graduate School. Trips to museums and galleries around London are a vital part of the path way. There are visits to the Association of Illustrators, and in the spring students visit Italy for the Bologna Book Fair. Students also exhibit through out the year at Waterloo Gallery, XHIBIT and the Designers Block. A number of students have worked on commissions for websites, corporate identities and book commissions. The range of creative destinations is wide and former students have had a number of successes including book contracts, comic strip work for Flicking Publishing and work with the Thames Festival. Recent graduates have gone on to work for Rave Magazine in Bombay and Samsung Adver tising in Europe.

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Ma Visual Arts (Printmaking)

MA Conservation

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Camberwell College of Arts

Camberwell College is widely regarded as the place to study printmaking, boasting an international reputation for the quality of work and teaching. The success of the pathway is due to its exploration of printmaking as a medium in its own right and its relationship to wider contemporary practices. It responds to current debates about the role of skill and authorship in the creation of artworks, and about the notion of the unique work of art. Printmaking technologies are being utilized by artists in more varied and experimental approaches than ever before which is why Camberwell is investing in both traditional and digital methods to enable development of ideas through print media. This area is presented as a test site to develop ideas and practices in new directions as defined by the students’ personal projects. You will be encouraged to develop technical skills, sharpen your critical and contextual thinking and widen your professional knowledge. The course promotes an innovative approach to traditional and digital media, and intro duces all forms of autographic printmaking including intaglio, lithographic (plate and stone), relief, screen-printing and computer-generated processes. Students are encouraged to exhibit work both across the Graduate School and externally in London. In 2006 students took part in the Victoria & Albert Museum’s ‘Prints on the Run’ Symposium and this was followed by visits to the museum’s print collection and talks with the curator Gill Saunders. Visits to important print collections form part of the research and are made annually. Printmaking students will have a wide range of creative career destinations open to them, from practicing artist or freelance designer, to working in education or research. Graduates go on to teach in higher education at grad uate and postgraduate level, establish successful print workshops such as Artichoke Print Workshop and East London Printmakers, work in edition ing prints and exhibit both in the UK and abroad, recent graduates were selected for the International Northern Print Biennale in Newcastle 2009.

Conservators help to preserve the world’s memory by caring for a wide range of works of art, artefacts and structures which have significance for the local, national and global community. Conservators are skilled pro fessionals who undertake a wide range of activities including developing preservation strategies, undertaking interventive conservation (such as repair or chemical treatments), liaising with other museum professionals and being advocates for conservation to the wider community. This course has a successful track record of producing award winning students, such as Erica Kotze who recently won the prestigious Pilgrim Trust Student Conservator of the Year Award for her MA Conservation project completed at Camberwell – ‘The Conservation of a Thai Samut Khao Buddhist Medical Manuscript’. Students from this course are widely recognised as being well trained and prepared for employment. Recent graduates are now working at the British Library, the Wellcome Trust, The National Maritime Museum and Benaki Museum in Athens. Other graduates have attended internships with the Joint Archive Service in London, the Library of Congress in Washington and the New York Botanic Gardens and some are pursuing doctoral research within University of the Arts London.

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POSTGRADUATE DIPLOMA FINE ART

MA Fine Art

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Chelsea College Of Art And Design

This course encourages a challenge to, and expansion of contemporary fine art practice. It explores a range of approaches and procedures within a context of group initiated shows and independent learning. By developing a range of learning skills the course encourages a re-thinking of practice and development of theoretical understanding. A lively and ongoing group dynamic is central to the teaching methods and philosophy of this course. Students work intensely, and as part of a culturally diverse group with potentially radical outcomes for practice. Taught by staff from across the world, all of whom are current practitioners, the course covers a range of disciplines and methods. Students attend talks by contemporary professional practitioners and there is a close peer relaÂtionship to the MA Fine Art course and its students. The course consists of a programme of individual and group tutorials, seminars and workshops. Emphasis is placed on development, experimentation and the critical disÂ cussion of your ideas with tutors and peers, and the introduction of aspects of professional practice and further study. Most graduates go on to study at MA level, particularly progressing to Chelseaâ&#x20AC;&#x2122;s own MA Fine Art and have gone onto set up artist-run spaces (Caribic, Frankfurt),set up their own exhibitions (Propeller Island), take part in prestigious competitions (New Contemporaries) and public projects (Frieze Art Fair Projects) and commercial gallery representation (Carl Freedman Gallery).

The MA Fine Art at Chelsea is amongst the longest established postgraduate fine art courses in the UK . Graduates from MA Fine Art at Chelsea include internationally renowned artists and Turner Prize nominees and winners such as: Anish Kapoor, Mike Nelson, Peter Doig, Stephen Pippin, Rebecca Warren, Kimio Tsuchiya, Mariella Neudecker and Andreas Oelhert. This is an intensive taught course providing a valuable bridge between studentship and professional practice. The course is distinctive thanks to its commitment to developing the dialogue across the whole spectrum of fine art practice. We aim to provide a stimulating and challenging learning environment for ambitious students drawn from a wide international application. One of the central aims is to promote and generate discourse between students, encouraging re-evaluation of practice. Underpinned by a challenging theoretical curriculum and instruction in approaches to research methodology, the course demands a high level of commitment to independent productive activity. Students are supported by a strong postgraduate community. The course, tutors and peers encourage students to re-evaluate and contextualise their work. This enables them to locate their work in relation to contemporary fine art practice and develop potential to operate as professional artists and conduct further research. The course is primarily aimed at graduates of fine art, who wish to develop their practice to a professional level within a studio base environment. We welcome applications from students who see the practice of fine art as central to their professional aspirations and individual development. The course develops your potential to operate as a professional artist within an international art community, or to progress to further academic research at PhD level. Many students go on to setting up their own studio practice, developing strong professional links with galleries and curators at a national and international level.

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Ma Graphic Design Communication

MA INTERIOR & SPATIAL DESIGN

Chelsea College Of Art And Design

This course is aimed at applicants looking to be authors of their own practice. The course recognises the need for different voices and approaches. We are open to individual definitions of authorship, encouraging explora tion and realisation of a singular perspective by providing a supportive and flexible approach to new modes of generating, presenting and disseminating work. This could encompass innovative uses of process or technology, the development of a signature style or an investigation into new models of working.

The course has developed a distinctive identity that reflects the fact that we are part of an ‘arts school’ tradition rather than allied to an architectural school. We have a significant international reputation as a culturally diverse course that fosters experimentation, and questions disciplinary boundaries and conventional definitions of what constitutes spatial practice. The course is committed to the notion of ‘space-making’ as a design activity that is distinct from architecture. It addresses issues of how we inhabit space, and develops sensibilities towards the intervening into existing architectural structures or situations. While we engage with the language of architecture, we have a particular expertise in the experiential aspects of what it is to inhabit and interact with our spatial environment. This can encompass both interior and exterior situations, while outcomes can range from the functional design of built structures to fine art installations, from furniture to film or computer animation.

At the same time students are expected to examine their practice within a broader cultural context, considering the roles and responsibilities of a designer in relation to societal, environmental, and ethical issues. Whilst this may challenge and redefine existing boundaries, the primary concern of the course is to develop work that has integrity and autonomy. The course is studio based, practice led, and underpinned by a theoretical framework that aims to promote lively, autonomous and reflective learners who have their own creative position on contemporary debates and society. Throughout the course students participate in individual and group tutorials and attend workshops with outside writers, designers, and artists. They develop skills through Personal Professional Development and on-line resources. Postgraduate talks introduce students to a range of visiting speakers whilst the in-house Graphic Design Communication lecture series offers the chance to hear current practitioners discussing their work. Collaborative projects and workshops have been practiced with the Design Museum and E4. Workshops have been held with Dylan Kendal of Tomato, Billy Bragg of Le Gun magazine, Lizzie Finn, Jonathan Griffin former Assistant Editor of Frieze magazine, Nick Roberts of Wordsalad and writer Anna Gerber. Professional lecture series speakers have included leading graphic designers Nina Chakrabarti, Andy Altman (Why Not Associates), Andy Stevens (Graphic Thought Facility), Emma Thomas (APFEL ); award winning video directors Dawn Shadforth and Nick Goffey (Dom and Nick); musicians including Barry 7(Add n to x) and Stephen Mallinder (Cabaret Voltaire) and a variety of practices as diverse as A2 Graphics, Mook and “Lee and Dan” . The course’s focus is on practice, supporting students to be forward thinking about their application either on to professional practice or in pursuing research to the level of PhD.

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The course offers the possibility to pursue two areas of concern: > Research orientated Here you will develop your own research proposal, evolving projects that have a strong specialist agenda, or which question the boundaries between architecture, design and fine art. This mode is particularly appropriate for students coming from a fine art or architectural background wishing to explore more conceptual spatial concerns that fall outside of conventional notions of interior design. > Professional practice orientated This area of study emphasizes site investigation and spatial resolution, where you bring your research concerns to a site condition that is negoti ated with staff. Here the outcomes are focused on the detailed design resolution of interventions into existing architectural or built conditions, and on the developing of challenging social programmes that engage with a wide cultural environment. The course encourages applications from graduates of interior design, interior architecture or architecture, and also from fine art or threedimensionala design graduates who want to pursue a more spatial aspect of their practice. We are interested in candidates who are keen to push the boundaries between disciplines and are looking to develop a deeper theoretical understanding of their practice. The course has direct links with the College’s Spaces and Narrations research group.

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Ma Textile Design

MA Curating

Chelsea College Of Art And Design

This is a studio-based, practice-led course demanding a high level of com mitment and motivation. Underpinned by a supportive theoretical framework and instruction in professional contemporary practice, it allows for collaborative opportunities for developing pioneering work within the textile industry. Concern and debate regarding the roles and responsibilities of the designer towards environmental issues is key to the course. It actively responds to the growing awareness of selecting raw materials, the impact of production and the ultimate life cycle of the product, especially con cerning its disposal or re-use. Through investigation and innovation you are encouraged to develop solutions which challenge convention and merge design with function.

MA Curating approaches curating as a method that cuts across different practices and spaces – physical, printed, virtual – and is not applied exclusively to the production of gallery or museum exhibitions. Its areas of specialist focus draw on specific areas of expertise represented by staff, research centres, public programmes and key external partners across the three Graduate School colleges. They include the curating of: > Events and public programmes. > Distributed forms – web-spaces, print media. > Archives – including those of artists, exhibitions, institutions. > Material culture – design, fashion, textiles. > Situated and socially engaged practices.

The course encourages applications from students with a high level of practical textile skills, design development methodologies and encourages an ambition directed towards different aspects of the textile industry. To succeed on the course you will need a high level of commitment and confidence in your abilities. Throughout the course you participate in individual and group tutorials, develop skills through workshops, on-line resources and postgraduate talks designed to introduce you to a range of visiting artists/designers and practitioners.

Expert workshops, seminars and guest lectures introduce and explore changing definitions of curating in relation to a dynamic landscape of institutions, social policies, and technologies, and address the response and responsibility of curating in relation to both locally-situated and transnational contexts.

The Textile Environment Design (TED ) project at Chelsea is a unique research unit investigating the role designers play in the field of eco design. It is a resource that students, researchers and designers all benefit from and contribute to. A recent student used TED ’s extensive library of contacts to establish a unique sustainable craft design project based in Thailand. The unit also encourages MA students to attend conferences in this growing area and report their findings back to the College. Graduates have gone on to careers as textiles practitioners and designermakers either working with, or establishing their own, major and independ ent fashion labels. Recent employment has included working as print designer for Ralph Lauren in New York, working on sustainable craft design projects in India and as an in-house designer for Heritage Cashmere. Other opportunities include freelance design work, interior product design or other industry related careers. Graduates are also well placed to go on to undertake further research.

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The course runs seminars and discussions at Chelsea College of Art and Design and also uses a range of learning resources across Camberwell, Chelsea and Wimbledon Colleges; it provides opportunities for students to engage with the gallery spaces and public programmes located within these colleges – as well as those of Peckham Space, an arts organisation dedicated to commissioning and developing art practices that are locallyspecific and socially-engaged. As a graduate you will be well placed to work within the current art insti tutional sector – particularly those institutions for whom an inter disciplinary ethos is central, and those who are as interested in developing critical and engaged public programming, in generating, keeping and retrieving and reflecting upon their own institutional archives. You will acquire the knowledge, experience, confidence and contacts necessary to build up your own portfolio as an independent curator. MA Curating will provide critical, historical and contextual studies that will encourage and prepare some students to pursue a PhD, focused on exhibition history and curatorial practice.

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Ma Art Theory

MA Fine Art

Chelsea College Of Art And Design

Wimbledon College of Art

MA Art Theory emphasises the integration of practice and theory. Whereas the two are frequently perceived as heterogeneous or incompatible, MA Art Theory considers practice and theory as inextricably intertwined in a dynamic, unstable and mutually enriching relationship. In particular, theory is taken as more than an explanatory or interpretive framework for practice: it can sustain and transform practice, even become a practice itself, deployed in a variety of registers from textual to performative, poetical to scientific. Moreover, MA Art Theory acknowledges that ‘theory’ has many histories, including - but not limited to – European and North American traditions. These alternatives points of entry are examined alongside more established lineages, such as aesthetics and philosophies of art.

This course asks you to rigorously re-examine your Studio, Critical and Professional Practices. These areas of research will cross reference to create a new level of understanding in terms of both your current practice, and its future possibilities. We call this practice-led research, and it underpins all aspects of your study.

The Course is aimed at (but not exclusive to) art practitioners – artists, critics and curators – who wish to confront their practices to theoretical reflection and exploration. Students will become familiar with fundamental historical trends in art theory, as these intersect with art history, critical theory and philosophy. This will enable students to discuss and recast aspects of their work in relation to contemporary theoretical debates. MA Art Theory works closely with MA Art Curating, also based at Chelsea, drawing on the existing resources of the three Colleges, including Chelsea Space, Peckham Space, and the libraries, archives and special collections of Chelsea, Camberwell and Wimbledon Colleges. Alongside these resources, students are encouraged to seek alternative means of expanding the scope of their research by forging ties to venues and publishing or broadcast outlets. To faciliate the students’ immersion in London’s dense networks of spaces and people, and in order to support the identification of the form of the final project, visits will be organised to archives, galleries, museums and fairs. Throughout the course students are exposed to potential collaborators, employers and prominent practitioners, through the visiting lecture series and established links with UK and international academic and cultural institutions. MA Art Theory will enhance the students’ employability by granting them fluency in debates that affect all areas of the cultural sector, from art practice and criticism to curating and independent theoretical production. Students graduating from MA Art Theory will possess an edge in applying for grants and residencies; for those seeking to transition to more research-based projects, including further study at PhD level, MA Art Theory would constitute an advantage.

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Practice-led research is used as a form of investigation in terms of media, processes, meanings and context. As Studio and Critical Practice are viewed holistically, you are encouraged to conceptualise your art practice as a project of research. This course places great emphasis on professionalism and developing your career aspirations. The professional practice lectures and seminars run alongside practical events, which involve exhibiting and promoting your work both within and outside College. These help you to define a clearer sense of your authorship, and an understanding of how you can effectively and confidently contribute to today’s fine art debates and activities. Finally, the course creates a network of critical debates, peer learning, interaction and collaboration. The programme of research led presentations involving PhD students and supervisors, generate a range of debates within the Wimbledon graduate community (which includes the Centre for Drawing) and throughout the Graduate School. The course is also outward looking and engages with a range of cultural, educational and social communities- including events or projects organised between the Colleges.

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MA VISUAL LANGUAGE OF PERFORMACE

MRes (Masters of Research)

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Wimbledon College of Art

This course provides an innovative environment and a unique opportunity to define contemporary performance practice through the investigation, incorporation, and fusion of a range of art practices. You will learn to work across conventional boundaries to gain a broader vision and experience of contemporary artistic practices. You will develop a critical awareness of the creative processes that are vital to world cultures and traditions. On this course you will examine the role of spectator, space and action. You will aim to unravel innovative ways of realizing ideas using a variety of performance models, materials and influences with which to express a unique point of view. Most importantly, you will acquire the tools you need to create your own work. By identifying, developing and strengthening your unique area of specialism you will be prepared to work not only inde pendently, but also provide a confident, informed and inventive perspective to any creative team. The course is project led and the curriculum is largely developed to support your individual practice and research through a series of self-initiated projects. A substantial amount of the course is dedicated to your partici pation in debates surrounding a wide range of artistic media including video art, film, digital design, painting, sculpture, installation, as well as various genres of performance-making such as live art, site specific and cyber performance. You will utilise innovative technologies and networking tools such as blogs, broadband streaming, mobile technology and other web interfaces in order to forge new connections, facilitate debates, share ideas and network with a universal community of diverse practitioners. You will be tutored by artists who work in a wide range of art practices as well as receiving support from the range of disciplines provided by staff across the Graduate School. The MA Visual Language of Performance programme will prepare you to work as an independent creative artist in the increasingly interdisciplinary and intercultural performance world.

This Masters of Research course offers students the opportunity to develop a major individual research project within the research environment of the Graduate School at CCW , directed at further study at MPhil/PhD level. It will also suit those working within art and design fields, who may wish to enhance their research skills, or the research element of their practice. The course is closely integrated with CCW research centres, and is staffed by Professors and Readers who work in the Graduate School, who have substantial expertise in practical and theoretical research in art and design and the supervision of research students. This is a taught MA course, providing a structured introduction to research in art and design fields for those wishing to progress to MPhil/PhD. Dr Malcolm Quinn, the Course Director, is Reader in Critical Practice at Wimbledon College of Art. He has developed and delivered research methods courses for MA and doctoral students at Wimbledon College of Art and the Royal College of Art, and is an experienced PhD supervisor. He has written extensively on art and design research, and the development of art and design language and pedagogy. In 2008–09, he was a guest lecturer at Cambridge University, Bath Spa University and Jan Van Eyck Academy Maastricht. He is a contributor to the major forthcoming publication The Routledge Companion to Research in the Arts. He has led two AHRC -funded collaborative doctoral training programmes, and is a member of the AHRC peer review college.

Appendix

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HOW TO APPLY and ENTRY REQUIREMENTS

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Contact details

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HOW TO APPLY and ENTRY REQUIREMENTS

One of the most important things to do to is find out as much information about the course or research programme as you can. Please read the prospectus, check our website and where possible visit us on an Open Day to get a full understand ing of what the courses are about and the selec tion criteria. This will give you the best possible chance when applying for your chosen course.

RES EAR C H ( MPh il & Ph D)

ENTRY REQUIREMENTS

The minimum entry requirement is an upper second class honours degree from a British university, or from a recognised higher education institution. However, we consider a Master’s degree in an appropriate subject to be particularly valuable in preparing candidates for a research degree.

Contact details

Professor Chris Wainwright Head of Colleges Camberwell, Chelsea, Wimbledon CCW Executive 16 John Islip Street London SW 1 P 4 JU

Professor Oriana Baddeley Associate Dean of Research Camberwell, Chelsea, Wimbledon CCW Graduate School 16 John Islip Street London SW 1 P 4 JU

T +44 (0)20 7514 7895 E c.wainwright@arts.ac.uk

T +44 (0)20 7514 7753 E o.baddeley@arts.ac.uk

Becky Green Graduate School Administrator Camberwell, Chelsea, Wimbledon CCW Graduate School 16 John Islip Street London SW 1 P 4 JU

Research Management and Administration University of the Arts London 272 High Holborn London WC 1 V 7 EY

TAUGHT POS T GRADUATE C O UR S E S

ENTRY REQUIREMENTS

Postgraduate Diploma (PgDip) and Masters Degrees (MA) > An Honours degree or equivalent academic/ professional qualifications. > Applicants who do not have English as a first language must show proof of IELTS 6.5 or equivalent, in English upon enrolment. > The College takes into consideration prior learning, alternative qualifications and experience. HOW TO APPLY

Download the application form by clicking the ‘Apply’ tab on the relevant course information page: > www.camberwell.arts.ac.uk/ Graduate-School-Courses.htm > www.chelsea.arts.ac.uk/courses/ Graduate-School-Courses.htm > www.wimbledon.arts.ac.uk/courses/ Graduate-School-Courses.htm You can also pick up application forms at our Open Days or contact: > Graduate School Admissions Camberwell, Chelsea, Wimbledon CCW Graduate School 16 John Islip Street London SW 1 P 4 JU > T +44 (0)20 7514 9600

Applicants who do not have English as a first language must show proof of IELTS 7.0 or equivalent in English within the application form. In some instances, applicants without this requirement may be considered if they can demonstrate appropriate alternative qualifications, professional experience or previous research. HOW TO APPLY

Further information about Research Degrees, including information on how to apply and application forms, is available from: www.arts.ac.uk/research/24.htm B u rs a r i es and Awards

There are a number of bursaries available from the Arts and Humanities Research Council (AHRC) for taught post-graduate and research degrees. In addition CCW has a number of other bursaries and awards that can be applied for. Further information can be found on our websites.

T +44 (0)20 7514 2078 E b.green@arts.ac.uk

T +44 (0)20 7514 9389 E research@arts.ac.uk

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CCW Graduate School | Directory 2010/11 Editor: Chris Wainwright Assistant editor: Becky Green Editorial team: Oriana Baddeley, Becky Green Thanks to Laura Lanceley, Kate Pelling, Donald Smith, Kerry Sullivan and Sian Stirling Design: Paulus M. Dreibholz Reprographics: Nicolas Berthelot Printing: Holzhausen Druck GmbH, Austria Published by: CHELSEA space, 16 John Islip Street, London SW1P 4JU This title was published as part of the Bright series of publications produced by CCW. ISBN 978-1-906203-43-6 © 2010, Graduate School, CCW and contributors