Bright 6: Graduate School Directory 2011/12

B R IG HT 6

GRADUATE SCHOOL | DIRECTORY 2011/12

I S B N 978 -1- 9 0 8 3 3 9 - 0 0 - 3

GRADUATE SCHOOL DIRECTORY 2011/12

CCW

CCW

CAMBERWELL CHELSEA WIMBLEDON

Brig h t 6

GRADUATE SCHOOL DIRECTORY 2011/12

CCW

CAMBERWELL CHELSEA WIMBLEDON

CONTENTS

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7

contents

Consolidating a Community

47

MA DESIGNER MAKER (VISUAL ARTS)

86

SCRIVENER Stephen

of Practice

48

MA INTERIOR & SPATIAL DESIGN

88

WAINWRIGHT Chris

INTRODUCTION

49

MA TEXTILE DESIGN

90

WATANABE Toshio

50

MA VISUAL LANGUAGE OF

9

VISITING SCHOLARS

PERFORMANCE

93

READERS

10

PREFACE

51

MA CONSERVATION

94

ASBURY Michael

11

PROFESSOR HEATHCOTT Joseph,

52

STUDENT PROFILE:

96

BASEMAN Jordan

FATEHRAD Azadeh (MRes)

98

BISWAS Sutapa

FULBRIGHT-UNIVERSITY OF THE ARTS

13

LONDON DISTINGUISHED CHAIR 2010/11

53

FEES & FUNDING

100

CROSS David

ASSOCIATE PROFESSOR BROOKS Ethel,

54

HOW TO APPLY

102

EARLEY Rebecca

Fulbright-University of the Arts

55

PG SCHOLARSHIPS, BURSARIES, PRIZES

104

FAIRNINGTON Mark

AND AWARDS

106

FAURE WALKER James

STUDENT PRIZE WINNER, BRC NUCLEUS

108

FORTNUM Rebecca

COMMISSION: ANDERSON Murray

110

KIKUCHI Yuko

112

NEWMAN Hayley

London Distinguished Chair 2011/12 15

SUZUKI Hiraku, ARTIST IN RESIDENCE

56

17

PARTNERSHIPS

18

CAPE FAREWELL

57

RESEARCH DEGREES

114

PAVELKA Michael

20

DOCTORAL SCHOOL, ACADEMY OF

58

INTRO & HOW TO APPLY

116

QUINN Malcolm

FINE ART, BUDAPEST

59

CURRENT RESEARCH DEGREE

118

TULLOCH Carol

CONFIRMED RESEARCH DEGREE

121

RESEARCH CENTRES AND NETWORKS

STUDENTS

122

TRAIN

COMPLETED RESEARCH DEGREE

124

LIGATUS

STUDENTS

126

CENTRE FOR DRAWING

LORI Ope

129

BRIGHT PUBLICATION SERIES

COMPLETED PHD STUDENT PROFILE:

130

BRIGHT 1: CCW GRADUATE SCHOOL

22

MEETING MARGINS

SUPERVISORS

23

MISTRA FUTURE FASHION

26

MOVING IMAGE NETWORK

28

SHARE

29

TOKYO WONDERSITE

30

V&A

63

33

TAUGHT POSTGRADUATE COURSES

64

34

INTRODUCTION

35

MA FINE ART

61

62

RESEARCH DEGREE STUDENT PROFILE:

DR HANDAL Alex

LAUNCH DIRECTORY 2009 131

BRIGHT 2: PARADE

36

MFA

65

PROFESSORS

132

BRIGHT 3: THE CURRENCY OF ART

37

MA BOOK ARTS (VISUAL ARTS)

66

BADDELEY Oriana

133

BRIGHT 4: GRADUATE SCHOOL DIRECTORY

38

MA DIGITAL ARTS (VISUAL ARTS)

68

COLDWELL Paul

39

MA DIGITAL ARTS ONLINE (VISUAL ARTS)

70

COLLINS Jane

40

MA PRINTMAKING (VISUAL ARTS)

72

CUMMINGS Neil

41

MA ILLUSTRATION (VISUAL ARTS)

74

ELWES Catherine

42

MA DRAWING

76

FARTHING Stephen

43

MA CURATING

78

GARCIA David

44

MA ART THEORY

80

HOGAN Eileen

45

MRES ARTS PRACTICE

82

PICKWOAD Nicholas

46

MA GRAPHIC DESIGN COMMUNICATION

84

POLITOWICZ Kay

2010/11 134

BRIGHT 5: RELAY

Consolidating a Community of Practice

5

PROFESSOR CHRIS WAINWRIGHT, HEAD OF COLLEGES CAMBERWELL, CHELSEA, WIMBLEDON

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

The academic and structural alliance between Camberwell, Chelsea and Wimbledon colleges (CCW ) continues to create opportunities for new and innovative developments in the University of the Arts London and more broadly within the sphere of arts education. 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. Its rationale 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.

The Graduate School is the home of our research degree and taught post­ graduate students, professors, readers and fellows and an equally impressive group of full time, part time and visiting tutors and other research supervisors, as well as established research centres, and research networks.

Central to the success of the Graduate School is the quality of its research provision, the calibre of staff and students and the existence of real and sus­ tain­able 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 distinctiveness: the first is a commitment to create and maintain a direct relation­ship between research focused activity and teaching with a requirement that all research staff, our professors, readers and fellows in particular, play an active role in teaching and supervision and that their research forms a crucial aspect of our student learning experience.

The second is 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 agendas that transcend subject specific concerns. In this respect we have identified the four areas of: Social Engagement, Environment, Identities and

6

Consolidating a Community of Practice

INTRODUCTION

7

Professor Oriana Baddeley, Associate Dean, Research and Professor David Garcia, Dean, Graduate School and Enterprise Development

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.

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 con足 text. 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 programme, along with the activities of research centres and networks, provide a rich calendar of events to inform and enhance the broader course and college-based activities hosted by CCW. One of the most important functions of the Graduate School is to facilitate greater communication, focus and the debate of key issues across the communities of the three colleges. Our research activities are wellestablished, diverse, specialist and grounded in the broad portfolio of art and design subjects represented by our taught course programmes. They offer new and challenging ways of thinking about how different disciplines can share common concerns and questions.

Issues surrounding the practice, and the theoretical and historical contexts of Fine Art, Design, Conservation, Theatre and Performance are developed and interrogated through a focused research approach of contemporary relevance. We are particularly interested in research that addresses 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 iden足tify a context over and above indivi足dual 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 regarding some of the more urgent social, political, economic and cultural agendas of our time and the need to address these 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, though not exclusively: > the generative languages of drawing and the material procedures of drawing as a tool for the realization 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 exploration of new models for creative practice (www.criticalpracticechelsea.org).

A significant and distinctive aspect of the CCW Graduate School is the range and quality of its external partnerships and networks with the

8

introduction

cultural industries, organizations 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, and we remain interested in developing outward-looking research activities with relevant partners.

VISITING SCHOLARS

The University of the Arts London website (www.research.arts.ac.uk) also provides information and contact with researchers within the university, and has more information on its university-wide research centres and networks, as well as on those which are hosted by Camberwell, Chelsea and Wimbledon.

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PREFACE

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PROFESSOR HEATHCOTT Joseph, FULBRIGHT-UNIVERSITY OF THE ARTS LONDON DISTINGUISHED CHAIR 2010/11

13

ASSOCIATE PROFESSOR BROOKS Ethel, Fulbright-University of the Arts London Distinguished Chair 2011/12

15

SUZUKI Hiraku, ARTIST IN RESIDENCE

9

10

PREFACE

Professor HEATHCOTT Joseph

11

FULBRIGHT-UNIVERSITY OF THE ARTS LONDON DISTINGUISHED CHAIR 2010/11

CCW hosts a vibrant community of visiting scholars and artists. For 2011/12

these include: Fulbright-University of the Arts London Distinguished Chair, Gasworks Visiting Artist, Schloss Balmoral Visiting Artist, Tate-CCW Artists’ Books Fellow and The Tokyo Wonder Site Artist Exchange. The research carried out by our community of external colleagues is an impor­ tant part of our outward-looking programme of activities, and feeds into our events exploring the key themes and issues focused on by Graduate School researchers. Alongside their contribution, we are also proud to have a distinguished group of CCW Visiting Professors who help to enhance and develop our key subject areas. For 2011/12, they are: > Professor Rosi Braidotti, Chelsea, Feminist Philosophy and Cultural Studies > Guy Brett, Camberwell, Art Journalism, Publishing, Curation and History > Dr Vincent Daniels, Camberwell, Conservation Science > Michael Knowles, CCW , Furniture and Interior Accessory Design > Catherine Lampert, Camberwell, Publishing > Professor Deborah Nadoolman Landis, Wimbledon, Costume Design > Deanna Petherbridge CBE , Wimbledon, Drawing > Posy Simmonds MBE , Wimbledon, Drawing.

During the academic year 2011/12, Professor Joseph Heathcott served as the first US Fulbright Distinguished Chair at the University of the Arts London, attached to the Research Centre for Transnational Arts Identity and Nation (TrAIN) at CCW Graduate School. Prof­ essor Heathcott is a writer, curator and educator based in New York City, where he teaches at the New School. The Fulbright-Distinguished Chair Award is the most prestigious award in the Fulbright Programme which aims to promote peace and cultural understanding through educational exchange. Here he reflects on this experience during his residency.

As the urban critic Lewis Mumford observed, cities constitute our greatest cultural achievements while reflecting our most profound moral failures. Cities gather people, concentrate innovation and power the global economy. But they also amplify poverty, inequality, racial segregation and ecological collapse. The encounter with cities in a global age forces us to embrace unsettling (and potentially liberatory) contradictions.

So if the city is one of our greatest cultural achievements, any attempt to redress its failings – what we might call ‘the struggle for the city’ – should itself be a creative project. Remaking our cities towards the ends of justice requires commitment to an open public culture, the free exchange of ideas and a willingness to think through multiple registers beyond our disciplines.

For six months, I had the rare privilege to live in one of these great contradictory cities, and to work alongside an extraordinary group of admin­ istrative and teaching staff, artists and scholars, graduate students and alumni. The experience has had a significant impact on my work and I hope it has led to a lasting connection between our universities.

To say that I gained a lot from the experience is an understatement.

I had the luxury of observing colleagues in the CCW Graduate School as they organized brilliant academic programmes. While giving lectures and masterclasses, I met, listened to and learned from dozens of talented graduate students. The shared ideas, commitments, and vision among faculty members and graduate students demonstrated to me that CCW pre­ sents a model of how to build an academic community out of multiple, often competing strands.

Beyond rewarding personal connections and programme insights, the most important outcome of the residency for me has been a redoubled commitment to the role of art and arts research in the interdisciplinary study of cities. By this, I do not mean that art provides some reductive meth­ odology to complement research generated from the social sciences and

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HEATHCOTT Joseph

Associate Professor Brooks Ethel

13

Fulbright-University of the Arts London Distinguished Chair 2011/12

humanities. Nor do I refer to art as merely an instrument of social change, or aesthetics as merely relational. We need art practices that offer space for the imaginary, the useless, and the sublime.

But the superlative work of the faculty and students at CCW Graduate School reveals the crucial contributions that art research can make to urbanism. Art practices embody epistemological frameworks – ways of querying the world – missing from the study of cities today: speculation, iteration, affect, moral simulation, modal knowledge, non-discursivity, and multiplicity of interpretation. We urbanists need these frameworks to abrade our settled notions of the city, its spaces, its temporalities, and its conditions.

So I hope to enrich the study of cities at The New School with the insights gained from my residency in London. And I look forward to continuing the work of bridge-building between our universities.

Joseph Heathcott, Memory Practices, n. 5, worked digital image, variable dimensions, London 2010

Ethel Brooks is an Associate Professor in the Departments of Women’s and Gender Studies and Sociology at Rutgers University in the United States. Her fields of interest include gender and labor, critical political economy, globalization, social movements, post-colonialism, and critical race theory. She has conducted research on a host of sites around the world including in London, Istanbul, Fall River, San Salvador, Dhaka and York City.

Do Gypsies have a right to the city? My project, ‘Visual Practices, Cultural Production and the Right to the City: Romani Gypsies as Cosmopolitan Others,’ will examine the relationship between city planning and the main­ tenance of Romani populations as constitutive outsiders to modern city spaces and, by extension, to contemporary citizenship regimes. My research will focus on Hackney, where a Romani community was displaced to make way for the 2012 Olympic Park. This particular site is one of several struggles over land and space that are currently taking place throughout the UK and Europe. The complexity of London’s long Romani history, and the relations between its various Roma, Gypsy and Traveller subgroups, has – as with non-Romani minority and majority populations – been mostly erased from historical narratives. My excavation of Romani histories of everyday life and the opening up of questions of land tenure practice will help us to see Roma not as inherently nomadic or recently migratory, but rather as central to the history of London. The residents of Hackney – Romani and non-Romani, working class, migrants, former colonial subjects from Asia, Africa and the Caribbean, and other marginalized groups – have different but interrelated histories and roles within empire and colonialism, varied productive formations and development practices, and multiple positions within the nation-state and beyond. By connecting struggles over land tenure with productivity and visuality, I hope to trouble dominant notions of Romani culture and tradition, and to interrogate the ways in which the visual works to produce difference.

For me, being awarded the Fulbright Chair for this project is particularly sig­ nificant, since I am one of a handful of Romani scholars worldwide and, for the first time, I am attempting to theorize visual culture, productivity and citizenship with regard to my ‘own’ people. I am a first generation uni­­versity graduate and a fifth generation US Romanichal (British Romani); my father was a gorgia/gauje, or non-Romani, and my mother was part of a large extended Romani family. I grew up in a working class community in Rochester, NH ; my family members were horse racers and traders, pavers, fishermen, peddlers – and my paternal grandmother came to the US from England to be a cook in a large household in Maine. I applied for the Fulbright Distinguished Chair Award at TrAIN in order to engage with

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BROOKS Ethel

SUZUKI Hiraku

15

ARTIST IN RESIDENCE

colleagues and graduate students who are immersed in visual cultures, while at the same time drawing on ongoing conversations that question dom­inant notions of tradition and culture, taking movement, bordercrossing and transnational formations as the basis for understanding iden­ tity, cul­tural production and the arts. TrAIN and CCW are the perfect sites to carry out research that is vital to my project on Romani visual prac­ tices, the ‘Right to the City’ and reconfigurations of productivity.

I hope to bring some of these questions into ongoing conversations at TrAIN and CCW , and to draw from your rich intellectual and artistic milieu. There is so much more that I could say about the vibrancy of London, my excitement at the prospect of being part of that vibrancy, and the ideas I have for a conceptual remapping of the city through a centering of Romani visuality and cultural production. I look forward to making many more connections during my time at TrAIN and CCW .

Born in 1978 in Japan. Hiraku Suzuki obtained an MFA from Tokyo National University of Fine Arts and Music. His recent solo exhibitions include Galerie du Jour, Paris (2010), Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitions include Roppongi Crossing at Mori Art Museum, Tokyo (2010), 100 Stories of Love at The 21st Century Museum of Contemporary Art, Kanazawa (2009), Between Site and Space at Artspace, Sydney (2009), Redbull House of Art at Hotel Central, São Paulo (2009), and Vision of Contemporary Art at The Ueno Royal Museum, Tokyo (2009). His early works have been collected by The 21st Century Museum of Contemporary Art, Kanazawa. In 2010, his first drawing book Genga (which comprised of 1000 pages) was published by Kawade Shobo Shinsha/Agnes b., and a second book Looking For Minerals was published by Beams. He is an Asian Cultural Council 2011 grant winner, and after this residency program in London he will stay and work for 6 months at Location One, New York. www.wordpublic.com/hiraku

I have been drawing since I was about three. There used to be a lot of blue­prints in my home because my father was an architect and I used to draw something like a Moai (monolithic Easter Island figure) on their reverse. I also spent a good chunk of my childhood excavating unknown things like earthenware fragments, minerals, and fossils in my neigh­ bourhood. When I was ten years old, I saw a small photo of the Rosetta Stone and came to understand the pleasure of deciphering stories on mysterious glyphs, a pastime which completely fascinated me. At that time I wanted to become an archaeologist.

Now as an artist, my practice, which includes works on paper, on panel, murals, installation, frottage, live drawing, and video, references the new pos­sibilities of drawing in today’s world. The method I have in my mind through the act of drawing, however, is still closer to ‘excavating’ things that are hidden in the here and now, than to ‘depicting’ objects/scenery/ideas in a traditional way.

Archaeology was an artistic activity until the 19th century, and still now there are vast un-interpreted areas in our past. I can not help thinking about the genesis of drawing, which is synchronous with the beginning of language in human history. There are various hypotheses about it, but I think that the most relevant one is the twenty nine lines that the upper Paleo­lithic people carved on common stones around 35000 years ago – which are thought to have been recorded on the days between phases of the moon. There were four elements that recur; light, transformation, stone and the act of carving. These carved lines might be thought of as the most primitive form of glyph or drawing – they function as a record of time past and also as a signal of the future.

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Suzuki Hiraku

PARTNERSHIPS

Obviously, my country – Japan – is facing an unprecedented crisis right now.

It is at times like this that one starts to ask questions about the strong relationship between art and humanity in a real sense. To do that, we firstly need to know that the moment of ‘now’ is not a dot that is separated from the past and future. I believe that by the act of drawing and looking at signs that have been drawn, we can see the ‘now’ from our own pers­ pective. From its beginning, Drawing has always been at the intersection of direct human experience and distant cosmic time.

My exhibition, Glyphs of the Light, at Wimbledon consisted of about 40 pieces of new drawing work and some sculptures, which I produced during this residency in London. Every piece of work represents the intersection of my intimate relationship with phenomena taking place in my current environ­ ment at CCW , as well as my interest in archaeology and language. Recently, I have been greatly inspired by the residual images of the transformation of sunbeams streaming through leaves on the road. I hope my works will be a creative mediation – linking subtle memories of ‘signs’ and ‘phenomena’ with the future.

Hiraku Suzuki, Deciphering the Light #01, silver marker on paper, 75 × 55 cm, 2011. © Hiraku Suzuki

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CAPE FAREWELL

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DOCTORAL SCHOOL, ACADEMY OF FINE ART, BUDAPEST

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MEETING MARGINS

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MISTRA FUTURE FASHION

26

MOVING IMAGE NETWORK

28

SHARE

29

TOKYO WONDERSITE

30

V&A

17

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CAPE FAREWELL

CAPE FAREWELL

Cape Farewell is a charitable arts organisation that pioneers the cultural response to climate change.

It works internationally, bringing artists, scientists and communicators together to stimulate the production of art founded in scientific research.

Using creativity to innovate, they engage artists for their ability to evolve and amplify a creative language, communicating on a human scale the urgency of the global climate challenge.

The CCW Graduate School has been working in partnership with Cape Farewell to ask the best of our combined creative minds to respond to the complex and pressing issues of climate change and to build a vision for a sustainable future and promote the vital role cultural practice, debate and dialogue plays in this process. The CCW Graduate School has also identified climate change and environment as one of its key thematic interests which is reflected in a common programme of talks, events and cross disciplinary projects.

For 2011/2012 one of our shared projects will be SHORTCOURSE/UK , created together by CCW , Cape Farewell, Liverpool John Moore’s University and The University College Falmouth which considers the role of emerging artists and art students in designing and communicating a cultural shift towards ecological thinking and environment. SHORTCOURSE/UK is a surrogate art school of sorts; a place-less cohort comprised of a temporary student body and changing staff of artists, writers and climate scientists.

It offers students a series of short, local, rural and urban expeditions framed around issues of ecology and environment and which brings them into dialogue with scientists and leading scientific research to provide an oppor­ tunity for cross-disciplinary learning and to stimulate a creative response.

In the autumn term of 2011 a number of CCW postgraduate students will take part with the focus on the South East. An exhibition of partici­ pants’ work emanating from the expedition will be held at CCW , with an accompanying publication, in 2012.

During 2009/10 CCW along with The Academy of Applied Arts, Vienna and Columbia College, Chicago, supported and contributed to the Cape Farewell touring exhibition U-n-f-o-l-d. This exhibition, co curated by Prof Chris Wainwright, Head of CCW , has been shown worldwide in Vienna, London, Newcastle, Newlyn, Chicago and New York and is planned to tour to Beijing and the Far East in 2012.

The Academy of Applied Arts, Vienna, 2010

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DOCTORAL SCHOOL, ACADEMY OF FINE ART, BUDAPEST

Given that the development and growth of doctoral programmes in art and design is a worldwide phenomenon, CCW is encouraging cooperative endeavours with national and international graduate schools. Following an invitation from Balàzs Kicsiny of the Doctoral School, Academy of Fine Art, Budapest, Hungary, Stephen Scrivener and Hayley Newman, together with CCW doctoral students Maria Isabel Arango, Marsha Bradfield and Ana Laura Lopez de la Torre have been collaborating with doctoral students and staff in Budapest on subjects of shared interest.

In October 2010, the CCW team together with Balàzs Kicsiny, Szabolcs Süli-Zakar, Laura Somogyi, Kata Soós and Nemere Kerezsi spent a week in Budapest researching the Csepel industrial region of Budapest, which up until the late 1980s was the city’s industrial powerhouse, but which has since experienced a period of decline and renewal. This included a visit to a 1940s bunker that was used up until the 1980s for a range of purposes, including preparation and training for survival in the event of nuclear attack. This visit resulted in an exhibition entitled Csepel Works at the Labor Gallery in Budapest, and images of the exhibition can be found at: www.flickr.com/photos/csepelproject The collaboration will continue with a return visit by the Hungary team to Chelsea in July 2011, when the topic of focus will be the history of Millbank as an institutional site.

The ambition is to maintain an ongoing cooperation between the two graduate schools through the addition of new participants on both sides in anticipation of future inter-college events that further the theory and practice of practice-based research.

Doctoral School, Academy of Fine Art, Budapest

Image from the digital invitation card for the Csepel Works exhibition, Labor Gallery, Budapest, 2011. Designer: Szabolcs Süli-Zakar

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Fred Forest (Mascara, Algeria, 1933; lives and works in Paris, France), White Invades the City, São Paulo, October 1973; demonstration with blank placards; one of a series of public experiments forming part of his participation in the XII Bienal de São Paulo. © Fred Forest

MEETING MARGINS

MISTRA FUTURE FASHION

TRANSNATIONAL ART IN EUROPE & LATIN AMERICA 1950–78

PRINCIPAL INVESTIGATOR: REBECCA EARLEY GUEST PROFESSOR AT KONSTFACK AND CO-INVESTIGATOR: PROF. KAY POLITOWICZ

This AHRC -funded project concentrates on events, practices and processes forming critical links across different Latin American countries and between Latin America and Europe. Incorporating a deliberate shift from the habitual reliance on New York as the pole of critical art in the postwar years, we have aimed to research and write away from the centres and languages more often relied on to narrate post-war art. Our case studies include peripatetic ideas, artworks and individuals, and temporary forma­ tions – such as critical meetings, exhibitions or projects of political soli­ darity. Meeting Margins is an instance of an increasingly prevalent focus on border-crossing encounter – where exchanges are recovered as a means to dismantle nationally determined historiographies and schools of art.

The terms according to which this turn is articulated are often pacific (‘productive dialogue’, ‘meaningful influence’, ‘breaking down of borders’) and an impetus for the project was observing its benign emergence within the field of Latin American Art. We wanted to contribute to but also to question a marked turn from nation to relation. A vital part of this process has been the creation of critical platforms where emerging research from across Europe and the Americas can be openly debated, including the First International Research Forum for Graduate Students and Emerging Scholars, held in collaboration with the University of Texas at Austin in 2009. Research provoked by Meeting Margins has been disseminated by indi­ vidual essays and articles and will be published as a book edited by the project’s core members, Michael Asbury and Isobel Whitelegg (TrAIN, UAL ), and Valerie Fraser and Maria Iñigo Clavo (University of Essex).

The research programme ‘Mistra Future Fashion’ is funded by the Swedish Government via Mistra, the Foundation for Strategic Environmental Research, to bring about a significant change in the Swedish fashion industry leading to sustainable development both in the industry and in wider society. The scale of the project marked it as one of the most comprehensive studies of market and business models in the fashion industry. Changes to the key stages in the lifecycle of a product – changes in the supply chain to the design of clothing, to the materials used, to consumer behaviour and the influence exerted by government are the subject of multidiscipli­ nary focus.

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The consortium structure integrates eight cross-disciplinary research projects, including natural, social and political sciences and design, creating a common research platform. The consortium represents insights from dif­ ferent theoretical perspectives that will be used to develop new knowledge concerning systemic change in the Swedish fashion indus­try, providing insights into comparable markets worldwide. This will include how textiles and garments are designed and produced, how the industry interacts with consumers and how a sustainable lifecycle is evaluated.

Fashion has a significant environmental impact on climate change and water. The massive and increasing clothing and textile volumes in society have become an environmental burden, especially since very little of the used items are reused or fibre recycled. The fashion industry – and parti­ cularly Sweden-based fashion companies – have a huge potential to con­ tribute to effective and economic shifts towards more sustainable practice.

In March 2011, TED (Textiles Environment Design research group at CCW ) was awarded £500 000 to address the question, ‘How can sustainable design processes be created and embedded within companies and gain the participation of consumers?’. The research will be led by Rebecca Earley and is designed to contribute to the existing body of knowledge by focusing on practical changes that will influence the environment for sustainable fashion. To date there is little scientific knowledge of how coalitions of stake­ holders can induce institutional changes to promote sustainability. The work will be comprised of close cooperation between TED ’s TEN strate­gies for sustainable design and research into synthetic fibres from cellulosic compounds. The design task is to employ interconnected design thinking in textiles and fashion to innovate at all stages of the cradle-to-cradle ‘environment’.

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MISTRA FUTURE FASHION

MISTRA FUTURE FASHION

25

Textile and fashion designers need to be trained to think and create in a full range of sustainable design concepts, and be able to combine complex technical techniques together with new materials and processes, along with product design ideas that improve the use and disposal potential of the product. To embed these design strategies into companies, sophisticated professional training programmes are needed, which are both highly creative, encouraging new connected thinking that leads to sustainable design innovations; and which enables the company to evaluate the design thinking, finding ways to make use of the innovative ideas quickly and economically.

An emphasis on the inclusion of consumer behaviour as part of the extended supply chain all points to the circle of design, production, use and disposal as equally important areas for innovation. At the Konstfack Art School in Stockholm, Guest Professor Kay Politowicz will explore a range of these ideas, from an Experience Design perspective.

In May 2012, TED ’s report ‘Sustainable Textile Design Now’, will include research conducted with designers in companies and universities within the stakeholder network and beyond. During year two of the project, workshops will be designed to interact with the design community, manu­ facturers and consumers to test theories developed through collaboration with the range of projects represented in the consortium. An online exhibition of prototypes and concepts is planned for the end of year three, and a final web platform at the end of year four will offer the interna­ tional design community a toolbox for sustainable making and action.

A full time PhD studentship is linked to the project, which will contribute research on the social relationship of fashion to consumption. www.mistrafuturefashion.se www.tedresearch.net www.textiletoolbox.com

Emma Cowlam, New York, 2010 www.illustratedlife.co.uk emmacowlam@hotmail.com

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MOVING IMAGE NETWORK

MOVING IMAGE NETWORK

When avant-garde artists first explored film and video, theirs was a marginal and profoundly counter-cultural practice born of the iconoclasm of their day. Today the moving image is everywhere in contemporary art. Some com­ mentators have even identified 1998 as the signal year when this perva­ siveness became apparent. A raft of new books on artists’ moving image has been published, consolidating the history of the medium as a distinct tradition. Museums have appointed dedicated curators of ‘artists’ cinema’.

Distribution and delivery formats have diversified, and artists’ work has found new audiences at film festivals, in public spaces, at alternative venues and online.

In response to this new proliferation, the AHRC (Arts and Humanities Research Council) Artists’ Moving Image Research Network brings together a distinguished international group of historians, theorists, critics, curators and practitioners, who, in various groupings, are meeting in London four times over two years (2011/12). They are considering issues of con­ temporary relevance to the theory and practice of artists’ film and video.

These debates will help shape the mission and establish the intellectual terrain of the related initiative, the forthcoming Moving Image Review & Art Journal (MIRAJ) to be published by Intellect Books.

The Network is directed by Professor Catherine Elwes (CCW Graduate School) with co-investigator Pratap Rughani (LCC ). European participants in the network include Anne Marie Duguet, Director of the Centre de Recherches d’Esthétique du Cinéma et des Arts Audiovisuels (CRECA ) at Université Paris and Thomas Elsaesser, Professor Emeritus of Film and Television Studies at the University of Amsterdam and since 2006, Visiting Professor at Yale University.

For further information: www.movingimagenetwork.co.uk

Delegates at the AHRC International Artists’ Moving Image Network seminar at CCW Graduate School, Chelsea College of Art and Design, January 2010

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28

Share

Tokyo Wondersite

29

In a new initiative, CCW has taken a leading role in an EU -funded Research Network – SHARE (Step-change for Higher Arts Research and Education), which aims to develop EU -level policy and support for Arts and Design research at doctoral level and beyond.

Engaging 33 partner institutions from across Europe, the SHARE Network brings together arts educators, supervisors, researchers, cultural practi­ tioners, research centres and graduate schools. It works across a spectrum of creative cultural practices including: visual arts, performing arts, music, design, architecture and media.

SHARE shall:

> create a network for enhancing doctoral and post-doctoral education, providing information, support and a collaboration base for institutions with doctoral programmes in a developmental phase > support a network of existing graduate schools to develop innovative, cross-disciplinary approaches and programmes of world-class excellence > build a broader forum for exchange between artists, PhD researchers and supervisors.

A series of events will be hosted between now and the end of 2013, including a conference in Helsinki, 2011; a summer school in Lithuania, 2012; conferences in London and Vienna, 2012. Outside of such meetings, the work of SHARE continues through working group meetings held across Europe.

SHARE is co-funded by the EU through the Education, Audiovisual

and Culture Executive Agency through the ERASMUS Lifelong Learning Programme.

Tokyo WonderSite is an arts centre in Tokyo, Japan dedicated to the genera­ tion and promotion of new art and culture from Japan. It also runs an extensive international exchange programme, workshops, residencies and exhibitions across three sites in the city.

CCW has been working with Tokyo WonderSite for the last 5 years with BA and MA students from across CCW visiting Tokyo WonderSite to participate in masterclasses and workshops.

Their Creator-in-Residence programme, run since 2006, provides a venue for creative and to foster international and intercultural dialogue.

This year has seen the first staff exchange between the two organisations.

From May-September 2011 Hiraku Suzuki from Japan visited CCW . During his residency he produced numerous new drawing works and sculpture which were exhibited in Glyphs of the Light (August – September 2011) at Wimbledon Space.

The reciprocal leg of the exchange will see two members of staff from CCW taking up a residency at Tokyo WonderSite from October to November.

Jordan Baseman (CCW Reader in Time Based Media ) will make a series of films derived from experimental filmmaking across the physical, futuristic urban landscape of Tokyo and Karen Richmond (Course Director BA 3D Design at Camberwell) will bring people of all ages together around objects to talk, think and ‘open up’ what makes an object special to them.

30

V& A

V&A

CCW/ V&A ORAL HISTORY RESEARCH collaboration

In September 2009, Dr Linda Sandino, in association with CCW and the Victoria & Albert Museum (V&A), initiated the CCW /V&A Oral History of Curating at the V&A. As an historian of the applied arts familiar with the V&A, Linda chose to base her research in the museum because it encompasses diverse areas of expertise across the arts and design. The interviews also cover key shifts in the museum’s identity: from a Department of Education and Science museum to Trustee status in 1983, as well as subsequent restructurings that have led to its transformation from its postwar days when ‘it was a bit like the army’, to its current incarnation in the 21st century.

The detailed interviews cover all aspects of curatorial responsibilities and experience in order to provide a substantial resource for scholars stud­ ying the history of museums, their collections and exhibitions, and the impact of government strategies, as well as for museum personnel.

Curators’ narratives also reflect on issues of gender, class and other subject identity formations. The advantage of using a life history method is that it dem­onstrates how narrative functions to create, foster and sustain communities, and enables us to grasp the V&A, in Pierre Nora’s terms, as both ‘milieu [and] lieu de mémoire’.

The recordings and related documents will come under the responsibility of the V&A Archive for staff and researchers to access, as well as being disseminated through publications, V&A events and its Online Museum.

Future projects include documenting the role that artists and art-collegeeducated staff have played in the culture of the museum.

V&A Oral History: interview at the home of a retired curator, 2009. Photo: Linda Sandino

31

Taught Postgraduate Courses Running headlines

34

INTRODUCTION

35

MA FINE ART

36

MFA

37

MA BOOK ARTS (VISUAL ARTS)

38

MA DIGITAL ARTS (VISUAL ARTS)

39

MA DIGITAL ARTS ONLINE (VISUAL ARTS)

40

MA PRINTMAKING (VISUAL ARTS)

41

MA ILLUSTRATION (VISUAL ARTS)

42

MA DRAWING

43

MA CURATING

44

MA ART THEORY

45

MRES ARTS PRACTICE

46

MA GRAPHIC DESIGN COMMUNICATION

47

MA DESIGNER MAKER (VISUAL ARTS)

48

MA INTERIOR & SPATIAL DESIGN

49

MA TEXTILE DESIGN

50

MA VISUAL LANGUAGE OF PERFORMANCE

51

MA CONSERVATION

52

STUDENT PROFILE: FATEHRAD Azadeh (MRes)

53

FEES & FUNDING

54

HOW TO APPLY

55

PG SCHOLARSHIPS, BURSARIES, PRIZES AND AWARDS

56

STUDENT PRIZE WINNER, BRC NUCLEUS COMMISSION: ANDERSON Murray

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34

Introduction

MA Fine Art

35

Chelsea College Of Art And Design

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.

Further information on all our taught postgraduate programmes and courses at CCW is available on the college’s websites: > www.camberwell.arts.ac.uk/ccwgraduateschool > www.chelsea.arts.ac.uk/ccwgraduateschool > www.wimbledon.arts.ac.uk/ccwgraduateschool

LOCATI ON: CHELSEA DU RATI ON: FULL-TIME 1 YEAR

PART-TIME OVER 2 YEARS APPLY TO: CCW GRADUATE SCHOOL DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012 BRIA N C HA LKLEY, COURSE DIR E C TOR: ‘At Chelsea we create a tough, challenging and stimulating environment within which to re-evaluate and con­ textualize your practice. You will be equipped to sustain and develop your practice within a highly professional context.’

Cour se Content

On the MA Fine Art at Chel­ sea, one of the longest-running and most widely recognized postgraduate fine art courses in the UK , we are committed to developing dialogue across the whole spectrum of fine art practice. It is a distinct feature of this intensively taught course, which will provide you with a valuable bridge between study and professional practice. You will learn in a stimulating, challenging environment, in which we will encourage you to generate discourse and to reevaluate practice with each other. You will need to be committed to producing a high level of independent work, underpinned by a chal­ lenging theoretical curriculum and instruction in approaches to research methodology.

The course is aimed at Fine Art graduates keen to progress their practice to a professional level within a studio-based setting. We also welcome applications from students who see the practice of fine art as central to their professional aspirations and individual development.

It is possible to study the course full-time for one year and part-time over two years.

Key Fac ts

Supported by a strong postgraduate community, you will be encouraged to re-evaluate and contextualize your work by peers as well as your tutors. This will enable you to place your work in the context of contemporary fine art practice, and develop your potential to work as a professional artist or conduct further research at PhD level.

The reputation of this course attracts high profile awards and bursaries that are available to students throughout the year. These include the Patrick and Kelly Lynch, the Cecil Lewis and the Patrick Caulfield scholarships which support students with tuition fee and maintenance costs, and the prestigious Red Mansion and GAM Gilbert de Botton Art Prizes which celebrate student achievement.

Nex t Steps

Many students go on to set up their own studio practices, developing strong profes­ sional links with galleries and curators at national and international levels. Graduates from MA Fine Art at Chelsea include world-renowned art­ists and Turner Prize nominees and winners, including Anish Kapoor, Mike Nelson, Peter Doig, Stephen Pippin, Rebecca Warren, Kimio Tsuchiya, Mariele Neudecker and Andreas Oelhert.

36

MFA*

MA BOOK ARTS (VISUAL ARTS)

WIMBLEDON COLLEGE OF ART (NEW COURSE STARTING IN 2012)

37

CAMBERWELL COLLEGE OF ARTS

LOCATION: WIMBLEDON DU RATION: EXTENDED FULL-TIME

OVER 2 YEARS (60 WEEKS) AP PLY TO : CCW GRADUATE SCHOOL DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012

G E ORG E BLA C K LO C K , D E A N OF W I M B LE D O N:

‘Most people underestimate how long it takes to become proficient in their making practice, their methodology, and how much this influences the communication of their ideas. The MFA at Wimbledon is designed to ensure stu­dents focus on this essential requirement.’

The second stage (‘navigation’) will allow you to test the effectiveness of your making processes through discursive critical reflection on your work within the studio culture of the MFA course, the wider learning environment of the college and CCW Graduate School, leading ultimately to the public arena. The object of this critical reflec­ tion is to further test the ‘roadworthiness’ of your artworks in order to provoke further innovation.

The third stage (‘presentation’) will prepare you to deliver a body of work that will attest to the collision of new making processes with your ideas and artworks in the MFA final exhibition.

Ne x t S t eps

Course Cont en t The newly created MFA will focus primarily on the role of making within the creative process and its contribution to the meaning of an artwork. To persist with familiar art making practices when negotiating new ideas at MA level can result in making artworks that contain awkward and unhelpful juxtapo­ sitions of meaning and method.

This wholly practice-based MFA will allow stu­ dents the time and space to examine the effective­ ness of their chosen methods of making and to reconstruct a methodology more appropriate and specific to the onward development of their ideas.

Key Fac ts

The course is designed to be deli­ vered and experienced in three stages. The first stage of the course (‘orientation’) is specifi­ cally designed to prompt you to reconsider how you make your ideas ‘real’; and to examine whether the processes within your studio practice that have been successful in the past are still relevant, or whether they have simply degenerated into familiar habit.

The MFA course is committed to supporting you with the skills, knowledge and understanding necessary to continue your creative practice in the professional world, but can also act as an important stepping stone to practice-led PhD study. * subject to validation

LOCATI ON: CAMBERWELL DURATI ON: FULL-TIME 1 YEAR

PART-TIME 2 YEARS APP LY TO: CCW GRADUATE SCHOOL DEA DLINE : 1 JULY 2012

those at the Tate, John Latham’s Flat Time House and the National Art Library at the V&A. You will also enjoy the chance to explore the expanded book in a display or installation by showing your work in public exhibitions.

AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012

S U SA N JOHA NKNE C HT, PATHWAY LE A DE R:

‘Camberwell’s MA Book Arts students are at the cutting edge of defining book arts. They push the boundaries of what a book is and can be.’

Cour se Content Fuelled by advances in elec­ tronic information media and online publishing, the book has been freed from its traditional role as a container of information. Camberwell was the first college in the UK to offer specialist post­ graduate study to students in the emerging field of Book Arts.

Ongoing debates about the cultural, individual and creative functions of the book underpin our course discussions. And your studies are com­ plemented by lectures, seminars and workshops.

These are designed to support you in developing your research skills, professional practice and understanding of the wider context of book arts as an area of fine art and design practice.

You will benefit from a shared lecture programme across the visual arts courses, which draws upon the richness of college research across the CCW Graduate School.

K ey Fac ts

On this course, we’re also able to present you with a number of exciting opportuni­ ties outside the college. For example, you can help out on course stands at artists’ book fairs and make visits to special collections including

Nex t Steps

The skills and knowledge you will develop on this course could lead you to follow in the footsteps of graduates before you. Many of these have gone into careers as book artists, curators, freelance designers, workshop leaders and teachers. Others have moved on to further study at doctorate level.

Our graduates have won many prizes including the Sovereign Asian Art Prize, Crafts Council Development Awards, the Seoul Book Fair Prize and the London Book Fair Prize.

38

MA DIGITAL ARTS (VISUAL ARTS)

MA DIGITAL ARTS ONLINE (VISUAL ARTS)

CAMBERWELL COLLEGE OF ARTS

CAMBERWELL COLLEGE OF ARTS

enhanced opportunities for career development.

You will also be exposed to the shared visual arts lecture programme, featuring prominent PART-TIME 2 YEARS guest speakers, as well as being able to draw APPLY TO: CCW GRADUATE SCHOOL upon the wide variety of research across the uni­ D EAD LIN E: 1 JULY 2012 versity. You will enjoy opportunities to get AHRC DEADLI N E : 1 MARCH 2012 involved in projects across the university and at S TA RT DATE : OCTOBER 2012 other institutions. Our MA Digital Arts students have worked on projects, seminars and JONATH AN KE A R N EY, PATH WAY LE A D E R : ‘This symposiums with the V&A, the Institute course is an invitation to students to join a of Contemporary Arts, Peckham Space, FACT in research project that’s exploring and defining what art is in the digital age. And at Camberwell Liverpool, Goldsmiths College, University you will do this by being involved in a wide of London, onedotzero and galleries from China range of creative activities and opportunities.’ to Brazil. Recently, some of our students con­ tributed to joint symposiums with the University of Greenwich and Shanghai University.

Course Cont en t MA Digital Arts concerns art Seve­ral students have been awarded AHRC which uses, engages with and is impacted by the digital. But we don’t define the digital environ­ funding for their studies. ment in any narrow sense on this course; we explore the breadth of this, as yet, undefined Next Steps Our graduates have gone on to work medium. Fine art is traditionally painting, sculp­ as artists and creative practitioners in a variety ture, printmaking and the performance arts. of professional settings. Many former students Digital arts, however, make connections which progress to MPhil and PhD research. weren’t previously possible – they blur and break the boundaries between disciplines. The course is an invitation to students to join a research project that is exploring and defining what art is in a digital age.

LOCATION: CAMBERWELL

LOCATI ON: CAMBERWELL

DU RATION: FULL-TIME 1 YEAR

DURATI ON: PART-TIME 2 YEARS

Investigating art in a digital environment is all about possibilities. So a unique final exhibition combining work from our students in London with that of our students online around the world completes the course.

Being part of the wider post­graduate community at Camberwell, with the opportunity to interact with other subjects, will significantly enrich your experience. It will help you to develop your research skills and offer

APP LY TO: CCW GRADUATE SCHOOL DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012 JONATHA N KE A RNEY, PATHWAY LE A DE R : ‘This

Camberwell course is an invitation to students to join a research project that’s exploring and defining what art is in the digital age. And you will do this online wherever you are in the world, taking advantage of a wide range of creative acti­ vities and opportunities.’

39

MA Digital Arts courses. We also encourage the use of blogs so that you can supply regular updates on the progress of your project. These form the basis of chat, tutorials and assessment. We also encourage staff and students to make use of blogs and wikis. It makes for a supportive student community, encouraging collaboration and learn­ing across the globe.

Just as with the face-to-face pathway, online students can engage with research across the university by interacting with prominent researchers, watching lectures and taking part in online seminars. Many students contribute to exhibitions and events in their own cities and countries. The diversity of both the online Cour se Content This award-winning course and face-to-face pathways add significantly follows the same ethos as the MA Digital Arts course pathway based in London. The single differ­ to the richness of the course. ence is that you will be able to study from Exploring art in a digital environment is all wherever you are in the world. Students from about possibilities. So a unique final exhibition, countries across North and South America, combining work from our students in London Europe, the Middle East and Asia have studied with that of our online students around the world on this course. completes the course.

Our focus is art that uses, engages with and is impacted by the digital. And our definition of the Nex t Steps Our graduates go on to work as digital environment is far from narrow as we artists and creative practitioners in a variety explore the breadth of this, as yet, undefined of professional settings. Many progress to MPhil medium. Fine art is traditionally painting, sculp­ and PhD research. ture, printmaking and performance arts. But digital technologies make connections that were not previously possible – they blur and break the boundaries between disciplines. We invite you to join a research project that is exploring and defining what art is in a digital age.

Key Fac ts

K ey Fac ts

You will engage with the university though weekly chat sessions, which will also allow opportunities for collaborative presenta­ tions between the Camberwell-based and online

40

MA PRINTMAKING (VISUAL ARTS)

MA ILLUSTRATION (VISUAL ARTS)

CAMBERWELL COLLEGE OF ARTS

CAMBERWELL COLLEGE OF ARTS

LOCATION: CAMBERWELL DU RATION: FULL-TIME 1 YEAR

PART-TIME 2 YEARS AP PLY TO : CCW GRADUATE SCHOOL DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012 F IN TAY LO R , PATH WAY LE A D E R : ‘Innovation is the watchword on MA Printmaking at Camberwell.

We will encourage you to be experi­mental and to reflect on printmaking in its many contexts.

Above all, you will develop your practice and be ready to choose from a variety of creative career pathways.’

Course Cont en t

Camberwell College of Arts is widely regarded as the place to study print­ making, and our teaching and work are inter­ nationally renowned. On the course, we explore printmaking not only as a medium in its own right, but in respect to its relationship with wider contempo­rary practices. We respond to current debates about the role of skill and authorship in the crea­tion of artworks, and the notion of the unique work of art.

Artists are using printmaking technologies in more varied and experimental approaches than ever before. So we’ve invested in both traditional and digital methods at Camberwell to help you develop your ideas through print media.

And we also promote an innovative approach, introducing you to all forms of autographic print­making. These include intaglio, lithographic (plate and stone), relief print, screen printing, letterpress and computer-generated processes.

Your time with us will be a chance for you to develop your ideas and practice in new directions, defined by your research projects.

Key Fact s

You will be encouraged to develop technical skills, sharpen your critical and contextual thinking, and widen your professional knowledge, as well as exhibit work across the CCW Graduate School and London. In recent years, students have participated in symposiums at the V&A and in talks with curators and international artists. In addition, each year we make visits to important print collections.

Ne x t S t eps When you finish the MA Print­ making course, you will have a wide range of crea­ tive career options open to you, for example as a practising artist and freelance designer, or perhaps in research.

LOCATI ON: CAMBERWELL DU RATI ON: FULL-TIME 1 YEAR

PART-TIME 2 YEARS

41

which draw upon the richness of the research within the college and across the CCW Graduate School.

APPLY TO: CCW GRAdUATE SCHOOL DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012 JANE T WOOLLEY, PATHWAY LE A DE R: ‘Illustration in the 21st century demands strong voices, entrepreneurial image makers who can tell their own stories. This Camberwell course will take the skills you already have and build upon them, through your own personally ambitious project and wider interaction with your artistic community.’

Many of our graduates go on to teach in higher education or establish successful print workshops, such as Artichoke Printmaking and East London Printmakers. Others work in editioning prints and exhibit internationally and in the UK .

Cour se Content Camberwell College of Arts has a long tradition of imaginative illustrative art, and MA Illustration builds on this strength.

Recent graduates were selected for the Interna­ tional Northern Print Biennale in Newcastle, and showed work and won awards in the Postgraduate Printmaking in London at Clifford Chance.

Others exhibited at Compton Verney and had work purchased for the V&A Museum collection.

Through a series of workshops, discussion groups and group and one-on-one tutorials, you will develop a proposal for an ambitious, engaging project that will last the length of the course.

It will be a time to test out and implement your critical and practical skills, as well as to consider how your practice should develop and the new directions you may choose to take.

Many of our students decide to participate in external ventures, competitions or exhibitions, and form their own discussion groups while on the course. Students on MA Illustration also find that they benefit from interaction with other subjects. The course will help to you build your research skills and offers enhanced opportunities for networking and career develop­ ment. You will also be exposed to the shared lecture programme and cross-course seminars

Key Fac ts

You will gain an insight into your personal artistic ambitions and build knowledge of professional practice on this course. This will be helped by the discussions that you will have with visiting practitioners, as well as by the rich artistic environment you will experience both within the college and across London.

You will have the chance for independent activi­ ties too, including trips to illustration conven­ tions and Bologna Book Fair. On MA Illustration, we also encourage you to take part in group exhibitions, competitions and commissions.

Nex t Steps

When you leave us, your range of creative destinations will be wide. Former stu­ dents have had a number of successes including book contracts, and work on comic strips, children’s books, and display windows for retail outlets and offices. In recent years, graduates have won awards in the Macmillan book competi­ tion and have even created murals for the Google headquarters.

42

MA DRAWING*

MA CURATING

WIMBLEDON COLLEGE OF ART

CHELSEA COLLEGE OF ART AND DESIGN

LOCATION: WIMBLEDON DU RATION: FULL-TIME

PART-TIME 2 YEARS AP PLY TO : CCW GRADUATE SCHOOL DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012

S IMON BETT S, A SSO C I AT E D E A N, W I M B LE D O N:

‘At Wimbledon, MA Drawing will encourage an investigation of process, and an exploration of cross-disciplinary territories. This course will interrogate drawing for a purpose.’

Course Cont en t

MA Drawing at Wimbledon is aimed at students from diverse practices who have a strong belief in drawing and who want to explore drawing for a purpose. It’s a unique opportunity for you to interrogate and re-orientate your practice through drawing.

And you will focus on processes, techniques and cross-disciplinary dialogues that centre on communicating ideas to an audience, client or user.

Divergent practices is the course’s starting point, and we will stimulate connections and collabo­ rations between different subjects and disciplines through drawing. These may include design, fine art, writing, architecture, the sciences, perfor­ mance and dance.

The course structure will encourage you to develop external collaborations, placements or links, and you will work directly with key art, design and drawing archives. Studying the drawings and sketchbooks of artists, designers and architects will allow you to explore how an archive can be used for research, and how people use sketchbooks.

Key Fact s

The course is project-led to begin with, and to support this process, you will engage with a number of workshops led by a range of practitioners from across the CCW Graduate School. You will also have the chance to lead a drawing workshop for your peers illuminating your own practice. During this part of the course, you will critically test cross-disciplinary drawing and explore a range of media and materials through technical inductions and in­ struction. The research folio will support criti­cal practice talks, and enable you to make connections with your studio practice.

LOCATI ON: CHELSEA

We will also make visits to outside studios, thea­ tres and other venues to establish broader perspectives and collaborations. Through making and studio practice, underpinned with critical practice, you will develop and examine your individual approach to drawing.

Cour se Content On this course, we consider curating as a method which cuts across different practices and spaces, including physical and virtual, and is not applied exclusively to the production of gallery or museum exhibitions.

Curating’s areas of specialist focus draw on specific areas of expertise represented by staff, research centres, public programmes, special collections and key external partners across the three Graduate School colleges. You will learn about curating events and public programmes, the archives of artists, exhibitions and institutions, and situated and socially engaged practices.

As part of the wider CCW Graduate School, and working alongside Wimbledon’s MA student community, you will have access to a range of research staff, talks and lectures. All will support you as you define the shape, context and content of your final project. Mid- and end-of-course exhibitions will give you the chance to site your work in a wider public forum.

Ne x t S t eps The MA Drawing course will support your practice with the skills, knowledge and cross-disciplinary understanding necessary to work as a creative individual in the professional world. It will also act as preparation for practiceled PhD study.

* subject to validation

DU RATI ON: FULL-TIME 1 YEAR APPLY TO: DIRECT TO THE CCW DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012

43

opportunities to engage with the gallery spaces and public programmes located within all three colleges, and Peckham Space, an arts organi­ zation dedicated to commissioning and devel­ oping local and socially engaged art practices.

S TART DATE : OCTOBER 2012 Key Fac ts DR ISOB E L WHITE LE GG , COURSE DIR E C TOR:

‘At Chelsea, we consider curating to be a method which cuts across different practices and spaces, including physical and virtual, and is not applied exclusively to the production of gallery or museum exhibitions.’

Workshops, seminars and guest lectures will introduce and explore the changing definitions of curating in relation to a dynamic landscape of institutions, social policies and technologies.

They will also address the responsibility of curating in respect of local-situated and trans­ national contexts.

These seminars and discussions will be held at Chelsea and you will benefit from access to a range of learning resources across Camberwell and Wimbledon Colleges. You will also enjoy

When you finish the course, you will be well placed to work within the current art institutional sector, particularly in institutions with an interdisciplinary ethos or those interested in developing critical and engaged public pro­ gramming and generating, keeping and reflecting on their archives. You will gain not only knowl­ edge and experience, but the confidence and con­ tacts needed to build up your portfolio as an independent curator.

Nex t Steps

Many of our graduates go on to work as curators, either independently or within an arts organization, gallery or museum.

Others become exhibition organizers or curate or develop public programmes and exhibitions.

Some students choose to continue their studies at PhD level, focused on exhibition history and curatorial practice. MA Curating at Chelsea will provide you with the critical, historical and contextual studies to encourage and prepare you.

44

MA ART THEORY

MRES ARTS PRACTICE

CHELSEA COLLEGE OF ART AND DESIGN

CHELSEA COLLEGE OF ART AND DESIGN

LOCATION: CHELSEA

Key Fact s

DU RATION: FULL-TIME 1 YEAR

MA Curating programme, and draw on the

DU RATI ON: FULL-TIME 1 YEAR

AP PLY TO : DIRECT TO THE CCW

resources of the three Graduate School colleges, including the libraries, archives and special collections, as well as the college galleries, espe­ cially Chelsea and Peckham Space galleries.

In addition, you will learn ways of expanding the scope of your research to include a full range of theoretical and visual materials. We’re keen for you to immerse yourself in London’s networks and encourage regular visits to archives, galleries, museums and fairs. Throughout the course, you will meet potential collaborators and employ­ ers, as well as many leading practitioners.

Our visiting lecture series is a great way to make established links with UK and international academic and cultural institutions.

APPLY TO: DIRECT TO THE CCW

DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012

‘Chelsea’s MA Art Theory is like engineering – we help you design the theoretical engine to drive your ideas forward.’

DAVID D IBO SA , CO U R SE D IR E C T O R :

Course Cont en t On this course, we place emphasis on the importance of practice in the development of theory. Contemporary art practices often integrate theory, so our MA in Art Theory course makes practice the starting point in learning new analytical and interpre­ tative tools. We reflect this focus in the project-led nature of the course, and our tutors work with each student to develop individual projects based on individual interests, needs and talents.

We work closely with Chelsea’s

Ne x t S t eps Studying on the MA Art Theory course will increase your chances of finding work by making you fluent in the debates affecting all areas of the cultural sector – from art practice and criticism to curating and independent theo­ Theory draws on textual, performance, poetic, phi­ retical production. You will have the edge when losophical, political and scientific approaches. applying for grants and residencies. And the You will also become familiar with fundamental course will certainly put you at an advan­tage if historical trends in art theory as well as key you are inter­ested in graduating to research-based moments in art practice. It will mean being able projects, including further study at PhD level. to discuss and shed new light on aspects of your work in relation to contemporary theoretical debates.

The course is aimed at people with an active interest in the visual arts. You could be an estab­ lished practitioner keen to use theoretical reflection and exploration to enhance your prac­ tice. But it’s just as likely that you’re someone with an emerging curiosity about art practice, art criticism, exhibitions, education, policy or curating.

LOCATI ON: CHELSEA

DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012

45

next door to Tate Britain provides students with easy access to the gallery’s permanent collection and archive, and the opportunity to attend and partici­pate in the Tate’s programme of events and special projects.

S TART DATE : OCTOBER 2012 Nex t Steps

‘This is a one year Chelsea course in which you will con­ duct an individual programme of art and design research within the CCW Graduate School.’

DR MA LCOLM QUINN, COURSE DIR E C TOR:

Cour se Content

MRes Arts Practice is an

MA course, which provides a structured intro­

duction to research in the fields of art and design for anyone wishing to progress to MPhil/PhD. It will suit those working within art and design fields who may wish to enhance their research skills or the research element of their practice.

The MRes Arts Practice offers you the chance to develop a major individual research project within the research environment of the CCW (Camberwell, Chelsea, Wimbledon Colleges of Art) Graduate School, directed at further study at MPhil/PhD level. The course is closely inte­ grated with CCW research centres, and is run by professors and readers working in the Graduate School who have substantial expertise in practical and theoretical research into art and design and the supervision of research students. We hold joint seminars with the MA Curating and MA Art Theory programmes at Chelsea and there is also an MPhil/PhD reading group.

K ey Fac ts

Dr Malcolm Quinn, the course direc­tor, is Reader in Critical Practice at CCW. Dr Quinn has also written extensively on art and design research, the development of art and design language, and pedagogy. The campus location

You may well go on to study for an MPhil/PhD after completing the course. Or you may wish to use your developed research skills to enhance your own practice, or use or apply them in the museum or gallery sectors or other art and design organizations and fields.

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MA GRAPHIC DESIGN COMMUNICATION

MA DESIGNER MAKER (VISUAL ARTS)

CHELSEA COLLEGE OF ART AND DESIGN

CAMBERWELL COLLEGE OF ARTS

LOCATION: CHELSEA DU RATION: FULL-TIME 1 YEAR AP PLY TO : DIRECT TO THE CCW DEAD LIN E: 1 JULY 2012

with Billy Bragg of Le Gun magazine; Lizzie Finn, ex-Assistant Editor of Frieze magazine; Jonathan Griffin; Nick Roberts of Wordsalad; and the writer, Anna Gerber.

AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012 Course Cont en t

The course is aimed at those looking to be authors of their own practice. We are open to different voices, individual definitions of authorship, and new ideas and approaches. So we are supportive of students who want to look at innovative ways of generating, presenting and disseminating work. This could mean new uses of processes or technology, the development of a signature style or an investigation into new mod­ els of working.

Your goal will be to independently develop work of integrity. But we will also ask you to challenge and redefine existing boundaries by exam­ ining your practice within a broader cultural context. It will see you considering the designer’s role and responsibilities in societal, environ­ mental and ethical issues.

The course is studio-based and practice-led. It’s also underpinned by a theoretical framework which will help you evolve your own position on contemporary debates. To this end, you will participate in individual and group tutorials, and workshops led by writers, designers and artists from outside the college. Visiting speakers will give postgraduate talks and practitioners will dis­ cuss their work in the in-house Graphic Design Communication lecture series.

Key Fac ts

We have been involved in colla­ borative projects and workshops with the Design Museum and E4. We have also held workshops

LOCATI ON: CAMBERWELL DU RATI ON: FULL-TIME 1 YEAR

PART-TIME 2 YEARS APPLY TO: CCW GRAUATE SCHOOL DEA DLINE : 1 JULY 2012

Former professional lecture series speakers include leading graphic designers; Nina Chakrabarti; Andy Altman from Why Not Asso­ ciates; Andy Stevens from Graphic Thought Facility; and Emma Thomas from APFEL . Then there have been award-winning video directors; Dawn Shadforth and Nick Goffey from Dom and Nick; musicians like Barry7 from Add N to (X); and Stephen Mallinder from Cabaret Voltaire.

Ne x t S t eps

We are committed to supporting you in developing the skills and knowledge neces­ sary to continue your creative practice, and for future study or employment. Recent graduates have exhibited work at the Courtauld Institute of Art and been awarded fellowships by the Royal Society for the Encouragement of the Arts. Our course focus on practice means that we encourage you to go into professional practice or to pursue PhD-level research.

AHRC DE A DLINE : 1 MARCH 2012

47

objects. By the course’s end, you will have made a wide range of works, including installations of small-scale sculptures, lighting designs, ceramic works, furniture designs and jewellery. These will vary from batch productions to one-offs and limited editions.

S TART DATE : OCTOBER 2012 Key Fac ts Maiko Tsutsumi, Pathway Leader : ‘Making and learning are intertwined on this Camberwell MA . The wide range of works you will create will be underpinned by a programme of thought, discussion and lectures.’

Cour se Content The contextual programme of the MA Designer Maker course will enable you to engage with the contemporary debates in applied arts, design and object-based art. And to explore the position of the makers within dif­ ferent cultures and contemporary societies.

Our course seminars and discussions touch on a wide range of subjects; everything from material culture studies, anthropology, philosophy and sustainability to consumerism, museum studies, psychology and literature. You will also be encouraged to attend the MA lecture pro­gramme and cross-course seminars, which draw upon the richness of the research within the college and across the CCW Graduate School.

We welcome applicants from applied arts, design and fine art backgrounds, including ceramics, furniture, jewellery design, metalwork and archi­ tecture. The course is aimed at practitioners with well-developed workshop skills, so you will be used to getting hands-on. You will also be keen to develop your critical skills so that you can engage with a wide range of social and cultural issues around the production and consumption of

You will be exposed to an exciting round of tutorials, group critiques and discus­sions. And our series of lectures, workshops and seminars will feature many visiting practitioners, including designers, makers, artists and curators. In addition, you will make visits to collections, makers’ studios, galleries and museums. Showing your work at public exhi­ bitions and following a personal development programme will ensure that you leave with your practical skills well-honed.

Nex t Steps

Many of our graduates go on to pursue interesting careers. These include as inde­ pendent applied arts and design practitioners, creative industry professionals, curators, freelance designers, workshop leaders and teachers. Others go on to study at doctorate level.

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MA INTERIOR & SPATIAL DESIGN

MA TEXTILE DESIGN

CHELSEA COLLEGE OF ART AND DESIGN

CHELSEA COLLEGE OF ART AND DESIGN

LOCATION: CHELSEA DU RATION: FULL-TIME 1 YEAR AP PLY TO : DIRECT TO THE CCW DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012

‘Space making is an important focus on this course. At Chelsea you can expect to explore conceptual spatial concerns and notions of how we inhabit space in an area of study that is distinct from but complementary to architecture.’

graduates who wish to pursue a more spa­tial aspect of their practice. Whatever your background, you will be eager to push the bound­ aries between disciplines and develop a deeper theoretical understanding of your work. In turn, you will find the course a useful stepping stone into professional practice.

DR KEN WIL D E R , CO U R SE D IR E C T O R :

Course Cont en t We have a unique identity on MA Interior and Spatial Design, being part of an arts school tradition rather than linked to an architectural school. We are internationally re­ nowned for our culturally diverse course, and for encouraging experimentation, along with the questioning of disciplinary boundaries and conventional definitions about what constitutes spatial practice.

We are also committed to the notion of ‘spacemaking’ as a design activity distinct from archi­ tecture. You will address issues about how we inhabit space and develop sensibilities about intervening into existing architectural structures or situations. While we engage with the language of architecture, our expertise is the experiential aspects of what it is to inhabit and interact with our spatial environment. This can encompass interior and exterior situations, with outcomes ranging from the functional design of built structures, fine art installations and fur­niture, to film and computer animation. We welcome applications from graduates in interior design, interior architecture and architecture graduates, as well as fine art or three-dimensional design

LOCATI ON: CHELSEA DU RATI ON: FULL-TIME 1 YEAR

49

to a range of visiting artists, designers and other practitioners.

APPLY TO: DIRECT TO THE CCW DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012

‘The oppor­ tunities you will encounter on this course are second-to-none. At Chelsea you will inspire and be inspired as you explore creative approaches to sustainable design, supported by a unique and vibrant community of fellow students, teaching staff and visiting practitioners.’

We welcome applications from students with a high level of practical textile skills, knowledge of design development methodologies and ambi­ tions in different aspects of the textile industry.

LORNA B IR C HA M, COURSE DIR E C TOR:

Key Fact s

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 negotiated 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.

Ne x t S t eps

Many of our former students work in architectural and design practices, while others continue their practice as fine artists and have exhibited internationally. Some graduates have established design companies, written architec­ tural books, and made films and furniture.

Others continue their studies at doctorate level.

Cour se Content

On this studio-based, practice-led course, we will expect you to show high levels of commitment and motivation, as well as confidence in your abilities. You will find numerous opportunities for developing and col­laborating on pioneering work within the textile industry and your study will be underpin­ ned by a supportive theoretical framework, as well as instruction in professional contempo­ rary practice.

A key course focus is concern and debate about the designer’s role in and responsibility for environmental issues. We will encourage you to respond to the growing awareness of selecting raw materials, and working out the impact of production and the ultimate life cycle of the pro­ duct, especially concerning its disposal or re-use.

Through investigation and innovation, we will encourage you to create solutions which chal­ lenge convention and merge design with function.

Throughout the course, you will participate in and develop your skills through individual and group tutorials, workshops, online resources and postgraduate talks designed to introduce you

Key Fac ts

Our Textile Environment Design (TED ) project at Chelsea is a unique research unit investigating the roles that designers play in the field of eco design. It’s a resource that stu­ dents, researchers and designers benefit from and contribute to. One of our students used TED ’s extensive library of contacts to establish a unique sustainable craft-design project in Thailand.

We encourage MA students to attend conferences in this growing area and report their findings to the college.

Nex t Steps

Graduates on this course have gone on to pursue careers as textiles practitioners and designer-makers, working with or estab­ lishing their own major and independent fashion labels. Recent graduates have found jobs such as a print designer for Ralph Lauren in New York and in-house designer for Heritage Cashmere.

Another works on sustainable craft-design pro­ jects in India. You are likely to find opportunities in free­lance design work or interior product design too. You will also find yourself well placed to apply to undertake further research.

50

MA VISUAL LANGUAGE OF PERFORMANCE

MA CONSERVATION

51

CAMBERWELL COLLEGE OF ARTS

WIMBLEDON COLLEGE OF ART

LOCATION: WIMBLEDON S TU DY MO D E : FULL-TIME DU RATION: 1 YEAR AP PLY TO : DIRECT TO THE CCW DEAD LIN E: 1 JULY 2012 AHRC DEADLI N E : 1 MARCH 2012 S TA RT DATE : OCTOBER 2012

‘Visual Language of Performance at Wimbledon engages in contemporary ideas, innovations and trans­ formations, in the devising and development of cutting edge performance practices.’

DO U GLAS O ’CO N N E LL, CO U R S E D IRE C T O R :

On MA Visual Language of Performance, you will enjoy an innovative environment, and a unique opportunity to define contemporary performance practice through investigating, incorporating and fusing a range of art practices.

Key Fact s

The course is project-led and the curriculum’s designed to support your individual practice and research through a series of selfinitiated projects. Much of the course will involve your participation in debates. These will concern a range of artistic media, including video art, film, digital design, painting, sculpture, installation, live art, and site-specific and cyber perfor­mance.

You will use innovative technologies and net­ working tools such as blogs, broadband streaming and mobile technology to forge new connections, facilitate debates, share ideas and network with a universal community of diverse practi­ tioners.

Course Cont en t

You will learn to work across conventional boun­ daries to gain a broader vision and experience of contemporary artistic practices. It will see you developing a critical awareness of the creative processes vital to world cultures and traditions, as well as examining space, action and the role of spectator.

You will aim to unravel innovative ways of reali­ zing ideas and expressing a unique point of view, using a variety of performance models, materials and influences. Above all, you will develop the tools you need to create your own work.

By identifying, developing and strengthening your particular area of specialism, you will not only prepare yourself for working independently, but for lending a confident, informed and inventive perspective to any creative team.

Our course tutors work in a range of art practices, and you will receive not only their support but that of staff in a range of disciplines across the CCW Graduate School.

Ne x t S t eps The MA Visual Language of Perfor­ mance programme will prepare you for work as an independent creative artist in the increasingly interdisciplinary and intercultural world of performance.

LOCATI ON: CAMBERWELL DU RATI ON: EXTENDED FULL-TIME

OVER 2 YEARS APPLY TO: CCW GRAUATE SCHOOL DEA DLINE : 1 JULY 2012 AHRC DE A DLINE : 1 MARCH 2012 S TART DATE : OCTOBER 2012 MA RK SA NDY, COURSE DIR E C TOR: ‘This course, building on 40 years of experience at Camberwell, will teach you specialist skills and knowledge and prepare you to work within specific fields of the conservation world.’

Cour se Content Conservators are skilled professionals who undertake a wide range of acti­ vities including developing preservation strat­ egies, undertaking interventive conservation of cultural artefacts (such as repair or chemical treatments), liaising with other museum profes­ sionals and being advocates for conservation to the wider community. Camberwell’s new 2 Year MA Conservation course will offer students the chance to focus on one of 2 pathways: > MA Conservation: Art on Paper This pathway will focus on the analysis, conservation and preservation management of images executed on paper covering a wide range of materials including prints, drawings and watercolours, with an emphasis on both conservation practice and theory. > MA Conservation: Books and Archival materials This pathway will cover the broad international and historical spectrum of book­binding and book structures. Studio prac­ tice will include preservation management as well as related conservation techniques and related theory. The strong connections with industry partners and the Ligatus research cen­ tre will support your Personal and Professional

Devel­opment (PPD ). This combination of path­ways builds on areas of research and prac­ tice already established at Camberwell, and responds to developing industry requirements.

The course will feature specialist taught elements for the two pathways running along­ side a common taught programme and key work­shops. This will allow for both the degree of specialization required in this subject at post­graduate level and a fruitful interaction between students with opportunities for peer learning and an expanded critical dis­ course. The course culminates in the completion of an individual conservation project.

Key Fac ts

The course has strong links with external partners both in the London area and further afield. These links facilitate project sourcing and voluntary activities for students.

Students will have the opportunity to work with the ‘Camberwell Collection’ archive and other archives within the UAL . This will provide the opportunity for a range of specialist projects and direct engagement with issues involving the care and use of collections. Students will have access to Camberwell’s technical resource centres along­ side the specialist conservation studios and conservation science laboratory.

Nex t Steps

Graduates can progress into employment within the conservation profession or funded internships. Graduates are employed as conservators in many institutions including the National Archives, the British Museum, the British Library, the V&A, the Bodleian Library and various county and regional archives. Graduates have also gone on to careers in other sectors of the heritage industry.

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STUDENT PROFILE

FEES & FUNDING

53

FATEHRAD Azadeh (MRes)

Tuition fees

Due to government funding reductions, fees for 2012 entry may change significantly. Further information will be provided on the college and university websites when available.

Please note that fees for 2012 have not yet been set. The fees below are for 2011 and are for guidance only: > Fine Art/Interior & Spatial Design (Chelsea) > UK/EU MA £/Year £7000 > International £/Year £15900 All other MA degrees: > UK/EU MA £/Year £7000 > International £/Year £12700 Funding your studies

Studentships and research grants are often available, but there are no subsidized loans for postgraduate students. However, UK/EU MA applicants to the CCW Graduate School may be eligible for funding from the Arts and Humanities Research Council (AHRC ).

Azadeh Fatehrad, Greeting the Sun Series, photography, c-type print, 84 × 118.9 cm, 2011

I was born and grew up in Tehran, Iran. I grad­ uated in BA Fine Art at the Azad University in Tehran 2008. During the final year of my BA course I had reached a stage where felt that I wanted to enhance my artistic practice in a more critical and professional manner, prompting me to explore the possibilities of studying abroad.

I chose London for its dynamic contemporary art scene and its cosmopolitan lifestyle, feeling it would offer me the possibilities I was looking for. In 2009, I started the MA Fine Art at Chelsea College of Art and Design in London. I chose Chelsea amongst all the other art schools because of its well-known reputation in Fine Art study.

This course marked a turning point in my life as the engagement of practice with critical research challenged my previous experiences and extended my knowledge significantly. My work is focused on video installation and photo­ graphy in the con­text of gender identity, which

I developed considerably through my MAFA course; for instance, tutorial sessions and feedback with contemporary and established art­ ists pushed my practice into new territory.

Also, one of the most interesting aspects was the involvement in group work; the dynamics and support within the group was most stimulating for setting up ex­hibitions and seminars in and outside the college. I found myself in the middle of a professional environment that transmitted a strong sense of being an artist and academic.

After completing the course, I decided to continue my study embarking on the MRes Art Practice in 2010 that will lead me to complete a practicebased PhD degree. In fact, witnessing the research of experts, aca­demics and fellow students has been extremely beneficial for my own research and practice; also, this academic exchange has encouraged me to continue my study further. www.azadehfatehrad.com

A rts and Humanities Resear ch Council Funding

The AHRC has awarded the university a limited sum of money to fund studentships for MA and research students. The arrangements for 2012 entry are not yet known. For further information, please visit: www.ahrc.ac.uk or www.arts.ac.uk/student/money Pr ofessional and C ar ee r Development Loan

This bank loan is designed to help you pay for work-related learning.

You don’t have to start paying the loan back until at least one month after you stop your training. For further information, visit: www.direct.gov.uk/pcdl

54

HOW TO APPLY

55 PG SCHOLARSHIPS, BURSARIES, PRIZES AND AWARDS

E n t ry r equ i r emen t s

At CCW Graduate School and across the University of the Arts London (UAL ), we are committed to supporting our students with financial help through scholarships, bursaries, prizes and awards.

> An Honours degree or equivalent academic/professional qualifications. > Postgraduate diploma applicants who do not have English as a first language must show proof of IELTS 6.0 (with a minimum of 5.0 in each skill), or equivalent, in English upon enrolment. > MA and MRes applicants who do not have English as a first language must show proof of IELTS 6.5 (with a minimum of 5.5 in each skill), or equivalent, in English upon enrolment. > The university takes into consideration prior learning, alternative qualifications and experience.

P o rt fol i o and S t udy P r oposal

Along with your application form, we ask you to submit a portfolio of work (usually in CD or DVD format or possibly using flickr), as well as a study proposal. Applicants will be shortlisted at this stage and may be invited for an interview. Some courses do not require a portfolio submission – please see the website for details.

A ppl i cat i on Fo r ms

Download the application form by clicking the ‘Apply’ tab on the relevant course information page.

A ppl i cat i on D eadl i nes

If applying for AHRC funding (UK/EU Masters degree applicants only): 1 March 2012. All other UK and EU applicants: 1 July 2012. International: no official deadline, but you are advised to apply as soon as possible.

CCW Graduate School has a range of scholarships and bursaries, many

specific to MA study subject areas. Past and current scholarships and bursaries include AHRC (Arts and Humanities Research Council) Masters Funding, UAL International Office Postgraduate/MA Scholarships, Arts for India Scholarship, The Cecil Lewis Sculpture Scholarships, the Artists’ and Collectors’ Exchange Bursaries, The Laura Ashley Scholarship, The Patrick Caulfield Bursary, The Patrick & Kelly Lynch Scholarship and The Stanley Picker Trust Bursaries. Prizes such as the Red Mansion and GAM Gilbert de Botton Art Award are also given annually.

For further information on all our current scholarships, bursaries, prizes and awards, including details on how to apply, please go to: www.arts.ac.uk/ scholarships-bursaries

56

STUDENT PRIZE WINNER, BRC Nucleus Commission Anderson Murray

RESEARCH DEGREES

Murray Anderson, On Not Having a Head, mixed media, variable dimensions, 2011

I specifically chose to apply to and study on the MA Fine Art at Camberwell because of its individual character, location, size, philosophy and success within both the CCW Graduate School and the broader postgraduate provision in the capital. My expectation of the course has been ex­ceeded and I have experienced a supportive, challenging and dynamic environment, where uniquely the part-time students are fully embed­ ded and integrated into the programme. The comparatively small class sizes enable open inter­ nal communication, high levels of staff-student contact and peer networking. The dedicated and respected course team is both pro­active and flexibly reactive towards indi­vidual research inter­ ests. Geographi­cally, the course is located in the middle of the emerging and vibrant South London arts scene and during my first year of study, the

course has facilitated student projects and links with Beaconsfield, Gas­works and the South London Gallery to name a few.

The BRC Nucleus commission, which was open to all students within the Graduate School, has provided a unique opportunity. It has allowed me to consider a number of concerns including audience, the practicalities of a public commis­ sion and the role of art in joining up subjective experience. Furthermore, the Nucleus’ location in South London relates to the Camberwell MA Fine Art programme’s focus on community and local context. The commission, along with the external projects on the course, has played a large role in my continuing personal and professional creative development.

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INTRO & HOW TO APPLY

59

CURRENT RESEARCH DEGREE SUPERVISORS

61

CONFIRMED RESEARCH DEGREE STUDENTS

62

COMPLETED RESEARCH DEGREE STUDENTS

63

RESEARCH DEGREE STUDENT PROFILE: LORI Ope

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COMPLETED PHD STUDENT PROFILE: DR HANDAL Alex

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Intro & How to apply Research Study at CCW: MPhil/PhD

Through the combined work of the many talented and dedicated Professors, Readers and Researchers within our CCW Graduate School, we are able to offer an exciting and rigorous expe­ rience for our research degree students. Our research activities are frequently grounded in the portfolio of art and design subjects repre­ sented by our taught Masters programmes. They offer new and challenging ways of thinking about how specific disciplines can share common concerns and questions. Issues surrounding the practice, and the theoretical and historical con­ texts of Fine Art, Design, Conservation and Theatre are developed and interrogated through a focused re­search approach of contemporary relevance. At MPhil and PhD level, we are parti­ cularly 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 themes reflect a growing collective awareness amongst our research com­ munities for identifying some of the more urgent social, political, economic and cultural agendas of our time and the need to address them through innovative and creative responses.

We are also particularly interested in PhD research proposals relating to our growing work in the area of theatre, particu­larly the investiga­ tion and redefinition of the limits of performance, costume design and scenographic practice.

Entry requi r emen t s

We consider a Masters degree in an appropriate subject to be particularly valuable in preparing candidates for a research degree. However, in certain circumstances where there is evidence of professional standing, the minimum requirement is an upper second-class Honours degree or equivalent academic professional qualification.

Appli­cants who do not have English as a first lang­­uage must show proof of IELTS 7.0 (with a 7.0 in writing) or equivalent. The university takes prior learning, experience and alternative qualifications into consideration.

P r oposal and port fol io

With your application, we ask you to submit a research proposal following the guidelines in the application form. If your proposal is practicebased you may also wish to submit a portfolio of work (usually in CD or DVD format) in support of your application. Applications will be reviewed by a team of relevant academic staff and short­ listed for interview at this stage.

Int e r v i ew

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

A ppl i cat ion form

Download an application form from the UAL Research Degrees web page at: www.arts.ac.uk/ research A ppl i cat ion deadlines

Deadlines for 2012 entry will be published on the university’s website: www.arts.ac.uk/research

Current Research Degree Supervisors

59

The following is a list of current CCW 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.

Chesher Andrew, Fine Art, Documentary Practice, Avant-garde Music, Structures and Practices.

Cobbing Will, Fine Art, Sculpture and Critical Practice.

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.

Cuming Jocelyn, Environmental Issues Within Museums, Book Conservation.

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.

Donszelmann Bernice, Fine Art Theory and Practice, Architectural Space and Wall Installation.

Earley Rebecca, Eco-design, Fashion, Textiles, New Textile Technologies and Contemporary Craft Practice.

Elwes Catherine, Artists’ Film and Video, Feminist Art, Wartime SAS. Fairnington Mark, Fine Art Painting.

Farthing Stephen, Drawing, Pedagogy and Cross Disciplinarity.

Faure Walker James, Painting, Digital Arts, Drawing and Criticism.

Fortnum Rebecca, Painting, Documentation, Visual Intelligence and Feminism.

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.

Hogan Eileen, Fine Art, Painting, Portraits, Book Arts, Archives, Jocelyn Herbert.

Johanknecht Susan, Artists’ Books, Book Art, Contem­ porary 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 Visualization.

Newman Hayley, Performance and ‘Liveness’, Rela­ tionship Between Performance and Its Documentation.

O’Brien Tamiko, Fine Art, Sculpture, Site-based Art Practice and Collaborative Art Practice.

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 Environ­ mental Agenda, and Addressing Design Problems.

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.

Smith Dan, Fine Art Theory, Notions of Archive, Memory and the Utopian Impulse Within Cultural Forms.

Sturgis Dan, Contemporary Painting, Abstract Painting, Fine Art, Curating.

Throp Mo, Fine Art, Curating, Practitioner, Researcher, Teacher Identity, Subjectivity, Feminism, Psychoanalysis.

Tulloch Carol, Dress and Textiles Associated With the African Diaspora, Material and Visual Culture, Writing and Curating.

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Current research Degree Supervisors

Velios Athanasios, Computer Applications to Conservation, Digitization, Digital Preservation, the Concept of Ethics in Digital Conservation and Preservation.

Wainwright Chris, Photography, Fine Art, Light Forms, Video, Curating, Climate Change and Cultural Responses to the Environment.

Walsh Maria, Artists’ Film and Video, Installation, Film Narrative and Theory, Spectatorship, Phenomenology, Performative Writing, Subjectivity and Feminisms.

Watanabe Toshio, Transnational Art, Art, Architecture and Design of Victorian and Edwardian Britain and Japan 1850–1950, Japonisme and Orientalism.

Whitelegg Isobel, Modern and Contemporary Latin American Art, Curatorship.

Wilder Ken, Projective Space, Installation Art, Video Sculpture, Spatial Practice, Philosophy of Art.

Confirmed Research Degree Students

Ahmed Osman, Wimbledon, Documenting the Kurdish Genocide. (Quinn Malcolm) Andersdotter Sara, Wimbledon, Recollection and the Personal Snapshot: Replacing Aristotle’s Eikon and Memory Image. (Ingham Mark) Bailey Catherine, Camberwell, The Reeves Collection: an Inquiry into Chinese Botanical Drawings, Their Identification and Conservation. (Sandy Mark) Ballie Jennifer, Chelsea, Considerate Clothing: an Exploration of Co-design Methods to Design a Digital Platform for Consumer Collaboration to Facilitate the Co-creation of Clothing. (Earley Rebecca) Bradfield Marsha, Chelsea, Verbal Utterance and Audience Response in Web-based Installations.

(Cummings Neil) Brew Angela, Camberwell, The Role of ‘De-objectifica­ tion’ in Drawing From Life: How and Why Do Artists Drawing From Visual Observation Attempt to ‘De-objec­ tify’ What They See? (Tchalenko John) Capkova Helena, Chelsea, Interpreting Japan: Central European Architecture and Design 1920–40. (Watanabe Toshio) Dougal Sarah-Jane, Wimbledon, Exploring a Performative Approach to Drawing: Using Drawing to Investigate the Limits of the Experience of the Material Body. (Baseman Jordan) Dover Annabel, Wimbledon, Bodhan Litnianski and the Souvenir: A Study of Nostalgia in the Jardin du Coquillage. (Calu Mark) Edwardes Christian, Chelsea, Making Space. Towards a Cartography of Imagined Spaces Through Fine Art Practice. (O’Riley Tim) Goldsworthy Kate, Chelsea, Material Re-creation: Forward Recycling of Synthetic Waste for the Luxury Textile Market. (Scrivener Stephen) Guerrero Rippberger Sara Angel, Camberwell, Parallels in the Identity Politics of Latin American and Middle Eastern Art, 1960s–Present. (Baddeley Oriana) Hewitt Andy, Chelsea, Socially Engaged Art Practices and Funding Agencies in Culture-led Regeneration.

(Cummings Neil) Hjelde Katrine, Chelsea, Constructing a Reflective Site: Making Knowledge/Teaching Knowledge in Fine Art. (Drew Linda) Hoolahan Fay, Camberwell, Creative Geographies: Mappings of ‘Place’ Via Time in Moving Image Art. (Elwes Catherine) Kassianidou Marina, Chelsea, In-between Marks and Surfaces: Approaching from the Feminine.

(Dennis Jeffrey) Kember Pamela, Chelsea, Perfectly at Home Nowhere: Artists from Hong Kong’s Visual Diaspora.

(Kikuchi Yuko)

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Lori Ope Sarah, Chelsea, Signifiers of Blackness and Whiteness in the Female Body: Representations and Tropes of Meaning in Britain, 1970–90. (Tulloch Carol) Loureiro Leonor, Camberwell, European Decorative and Printing Coated Papers 1850–1975: Their Classification for Conservation Purposes. (Sandy Mark) Love Johanna, Chelsea, How Have New Technologies in Digital Printing Affected Our Perception of the Surface Within Printmaking and the Way in Which Artists Explore the Convergence of Calligraphic and Photo­ graphic Languages Held On This Surface? (Coldwell Paul) Mackay Jem, Camberwell, Swarm TV: Constructing Effective Structures for Creative Collaboration by Analyzing Open Source Filmmaking’. (Stiff Andrew) Maffioletti Catherine, Chelsea, Can the Object Ever Truly Reflect the Body Without Merely Being a Representation, or Producing a Lack of Body/Self? Does the Object Only Exist in the Absence of the Body/Self?

Or Can it Speak the Body/Self Via a Different Mirror?

(Walsh Maria) McPeake Aaron, Chelsea, Nibbling at Clouds – the Blind Visual Artist is not a Paradox. (Newman Hayley) Morgana Corrado, Chelsea, Ludic Interventions in Dialogic Space; Socialised Activity, Play and ‘the Game’.

(Cummings Neil) Reid Imogen, Chelsea, Between the Viewer and the Screen. (Walsh Maria) Ricketts Michael, Chelsea, (Post-)Conceptualism / Urbanism. (Cummings Neil) Romero Ramirez Martha Elena, Camberwell, Mestizaje in the Bookbindings of New Spain. (Pickwoad Nicholas) Ross Michaela, Chelsea, The Role and Status of the Artist-Educator in Institutional Contexts. (Scrivener Stephen) Splawski Piotr, Chelsea, A penchant for Japan: British and Polish Japonisme in the Pictorial Arts of the Interwar Period (1918–39). (Watanabe Toshio) Stylianou Nicola, Chelsea, Producing and Collecting for Imperial Britain: The African Textiles in the Victoria and Albert Museum 1850–1950. (Watanabe Toshio) Tan Erika, Camberwell, Circumventing Closure: Transnational Manoeuvre(ing)s. (Baddeley Oriana) Tremlett Sarah, Chelsea, Maternal Philosophy: Can Text in Women’s Art be Considered New Philosophical Practice? (Throp Mo)

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Completed Research Degree Students 10/11

Research Degree Student Profile

63

Lori Ope

Adjani Raphael, Chelsea, The Being of a Space: an Ontological Investigation With Reference to the Rock Cut Edifices of Ellora, and Tadao Ando’s Water Temple.

(Watanabe Toshio) Alfier Dino, Wimbledon, The Semethics of Simone Weil: Attention as Geometric Mean Between the Existent and the Real. (Quinn Malcolm) Feirrera da Rocha e Silva Ana Beatriz, Camberwell, Shifts in the Identities of Modern Art Museums and Artworks Enhanced by Iconoclastic Architectures and Cultural Tourism. (Asbury Malcolm) Grennan Simon, Wimbledon, Drawing on ‘Ghost World’: in Experiencing the Contemporary Comic Book, What is the Nature of the Relationship Between Drawn Gesture and Emotion? (Farthing Stephen) Lisica Cindy, Chelsea, Superflat Art: Meaning and Merchandise for the 21st Century. (Baddeley Oriana) Sarris Nikolas, Camberwell, Classification of Finishing Tools in Byzantine/Greek Bookbinding: Establishing Links for Manuscripts from the Library of the St. Catherine’s Monastery in Sinai, Egypt. (Pickwoad Nicholas) Sullivan Lawrence, Chelsea, Ethical Reading.

(Newman Hayley)

Ope Lori, moving image, video and performance, video projection, 2008

Studying MA Fine Art, after completing a Post­ graduate Diploma at Chelsea, was one of the turning points of my artistic practice. The empha­ sis was really on making work as an artist and getting it out there through exhibiting and colla­ borating with fellow students. The course brought together many different students, from all backgrounds, na­tionalities and ages, under the rubric that we wanted to establish ourselves as art practitioners.

As a video and performance artist, where my interests were and still are is in black identity pol­ itics, what it means to be ‘Black’ and British, or ‘Black’ and English. What it means to be Black, female and lesbian and how those aspects of my subjecti­vity merged or diverged, were all impor­ tant issues for me. I found that the tutors on the course were challenging me to push my ideas to another level, especially through my chosen medium of vi­deo and performance. It was impor­ tant for me to have access to well-established

artists, cura­tors and theoreticians, diverse in their practice, who were very knowledgeable and able to give ad­vice about both the content and context of my work.

Through doing an MA in Fine Art, it propelled me to take the studies further and I am now in the second year of a PhD at CCW . The MA is a great stepping stone for this research course and gave me great confidence in believing I could take on such a challenge.

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Completed PhD Student Profile

Professors

DR Handal Alexandra

My decision to embark on a combined practice/ theory PhD came from the desire to shake-up my artistic practice and travel in my thinking beyond the parameters of Fine Arts. I sought an opportunity to channel my curiosity towards other fields of knowledge in order to explore new creative areas for reflecting and questioning.

Undertaking a PhD at the University of the Arts London provided me with the guidance, support and environment necessary to conduct such cross-disciplinary research. From the very mo­ ment I was interviewed by three members of staff – who eventually became my supervisory team – I knew that this was exactly where I wanted to be. Their involvement with the research centre, TrAIN (Transnational Art, Identity and Nation) in which I became an active member, added a

Alexandra Handal, No Parking Without Permission, Jerusalem, Greek Colony, 03.05.08, 10:53, giclée print on Hahnemühle etch­ing paper, 40.6 × 30.5 cm, edition 5, 2008

further component to my education. The conversations that transpired from the TrAIN seminars and lectures were particularly important to me as an artist whose visual cultural context has been informed by a number of national territories, cities, cultures, histories and languages. In this frenzied world we live in, where one is expected to produce art under great pressure with little space for experimentation, I found this period of working on my PhD extremely vital for my evo­lution as an artist and intellectual. This extended and concentrated pause for learning has allowed me the necessary time to read profusely, immerse myself in thought, experiment, create, conduct field work and develop ideas that bear the seeds for future projects.

66

BADDELEY Oriana

68

COLDWELL Paul

70

COLLINS Jane

72

CUMMINGS Neil

74

ELWES Catherine

76

FARTHING Stephen

78

GARCIA David

80

HOGAN Eileen

82

PICKWOAD Nicholas

84

POLITOWICZ Kay

86

SCRIVENER Stephen

88

WAINWRIGHT Chris

90

WATANABE Toshio

65

66

BADDELEY Oriana

BADDELEY Oriana

67

Professor

Biography Professor Baddeley is Associate Dean of Research at CCW and Deputy Director of the research centre for Transnational Art, Identity and Nation (TrAIN). 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 Contempo­ rary Latin America (inIVA/MIT 1996). With Toshio Watanabe and Partha Mitter, (2001–04), she worked on a major AHRC funded project, Nation, Identity and Modernity: Visual Culture of India, Japan and Mexico, 1860s–1940. She is on the Inter­ national Advisory Committee of the University of Essex Collection of Latin American Art, and the edi­torial board of Art History; and is a Trustee of the St Catherine Foundation and the Ashley Family Foundation.

Research Stat emen t

As a co-founder of the

UAL research centre for Transnational Art, Iden­

tity and Nation (TrAIN: www.transnational.org. uk); my research is undertaken within the context of globalization, identity studies and contempo­ rary art practice. My earlier doctoral research grew out of attempting to understand the values and meanings of the ancient cultures of the Americas and the ways in which colonization and the dis­ courses of post-colonialism 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 explored how traditions of

display and catego­rization have been responded to within the global structures of contemporary art expositions. Running throughout much of my writing has been a fascination with the ways in which different geogra­phic contexts impact on definitions of creative practice and how such definitions are then inter­preted. In recent years, my publications have included a com­ parative discussion of the work of Ernesto Neto and Gabriel Orozco, and an explo­ration of the work of Teresa Margolles in relation to stereo­ types of Mexican identity. In 2011, working with a previously unknown archive of his work, I curated an exhibition of Swiss pho­tographer Fred Boissonnas that explored themes of identity and myth in the area of travel photo­graphy.

I am continuing to research around issues of cul­ tural stereotype and ideas of authenticity, particularly looking at the associations of death, gender and danger with cultural otherness.

S elec t ed Out pu t s and Ach ievement s

Selected Publications 2011 Fred Boissonnas: the Sinai Expeditions 1929–33, Patriarcat œcuménique, Musée d’art chrétien, Chambésy, Genève.

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. & 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.

Selected Conferences / Presentations 2010 ‘A People United – Latin America and the Visualizing of the Political in 1970s Britain’ in: Meeting Margins: Transnational Art in Latin America and Europe 1950–78 conference, University of Essex.

Photograph (B.cat: 6666) Saint Catherine Library Stairway, 20.04.1929

2010 Authored visual essay ‘… a fair calculation, if not a certain operation’ 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-organizer and Chair / panellist with Charles Esche, Exhibitions and the World at Large, Tate Britain, London.

2005 Co-organiz er and speaker, The Many Faces of Frida, Tate Modern, London.

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COLDWELL Paul

COLDWELL Paul

Professor

Biography Professor Paul Coldwell is a prac­ tising artist and researcher. His art practice includes prints, book works, sculptures and instal­ lations. He has exhibited widely, and his work is included in numerous public collections, including Tate, Victoria & Albert Museum (V&A), the British Museum and the Arts Coun­cil of England. He was selected to represent the UK at the Ljubljana Print Biennial in 2005 and 1997; 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, accompa­ nied by a book published by Philip Wilson.

His work is featured in the recent book, Prints Now (Saunders & Miles) and he published a major survey of print­making, Printmaking: a Con­ tempo­rary Perspective (Black Dog Publishers) in 2010. He was appointed to the editorial board of the international journal Print Quarterly in 2009, has been a member of the AHRC Peer Review College and was chairman of the selection jury for the Imprint International Graphic Art Triennial in Warsaw, Poland, in 2011.

Research Stat emen t My research is focused on a practice-based approach and located within fine art. Through printmaking, sculpture, installation and writing, I explore issues around absence and loss, with ideas crossing between media. A recurring question for me is how new technologies impact on previous processes, in particular within printmaking; and how digital

technologies can inform and rejuvenate older technologies, such as etching and 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 are pro­ducible media. I am currently developing a project to involve a number of print collections throughout the UK in a coordinated series of exhibitions. www.paulcoldwell.org S elec t ed Out pu t s and Ach ievement s

Peer esteem 2011 (June) Selector for BITE Mall Galleries, London.

2011 (May) International jury: Imprint Kulisiewicz Graphics Arts Triennial, Warsaw, Poland.

2011 Impact 7 Printmaking Conference – peer review panel.

2010–11 AHRC panel member.

2010 Impact 6 Printmaking Conference – peer review panel.

2010 (30 Oct – 6 Nov) Guest artist: Art Institute of Chicago.

2007–11 AHRC Peer Review College.

Points of Reference I, screenprint, 62 × 76 cm, 2011

Selected Published writing 2011 (May) ‘Christiane Baumgartner Between States’, in: Art in Print. www.artinprint.org 2010–11 Regular reviews in peer review journal, Print Quarterly.

2010 (Autumn) ‘In Exciting Times’, in: Printmaking Today.

2010 Guest writer, ‘The Impact of New Technology On Printmaking’, in: Imprint, Australia.

2010 Drawing Translation/Interpretation, catalogue notes, Hui Gallery, Hong Kong.

Selected Exhibitions 2011 (28 May 2011 – 2 Jan 2012) War Correspondent: Reporting Under Fire Since 1914, Imperial War Museum North.

2011 (9 Sep – 17 Oct) 40 Artists 80 Drawings, Burton Art Gallery And Museum, Bideford, Devon.

2011 Drawing Interpretation/Translation, Hui Gallery, Hong Kong; The Drawing Gallery, Shropshire.

2010 (Dec) Afterlife New Acquisitions, Fitzwilliam Museum.

2010 (Sep) Lost & Found, Chelsea Cookhouse Space.

2010 (Aug – Sep) Drawing Colour, Tone & Tint RMIT. Selected External Lectures / Talks 2011 (Sep) Keynote Speaker, Impact 7 International Printmaking Conference, Melbourne, Australia.

2011 (May) Printmaking: a Contemporary Perspective, Pallant House.

2011 (Apr) Keynote speaker, Wrexham Print Symposium.

2011 (Mar) Printmaking: a Contemporary Perspective, Lighthouse Arts Centre / Ochre Print Studio, Guildford.

2011 (Feb) In Conversation With Christiane Baumgartner, Chelsea.

2011 (Feb) Chair/Panel Convenor, Series & Sequence CAA Conference, New York.

2010 (Nov) Keynote speaker, Curwen Printmaking Symposium.

2010 (2 Sep) Paula Rego: Printmaker, University of Bradford.

2010 Keynote Talk, Christies Multiplied Print Fair.

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70

COLLINS Jane

COLLINS Jane

71

Professor

Biography Jane Collins is Professor of Theatre and Performance 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 co-directed 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 identi­ ties’ resulted in a new work for the stage, The Story of the African Choir, which was developed in conjunction containing the Market Theatre Labo­ ra­tory in Johannesburg and performed at the Grahamstown International Festival in 2007.

She co-edited Theatre and Performance Design: a Reader in Scenography, published by Routledge in March 2010. This book, with over 52 texts, is the first of its kind in this field. In 2009, Collins restaged the award-winning Ten Thousand Several Doors for the Brighton International Festi­ val and her essay on this production will be included in the forthcoming collection, Performing Site-Specific: Politics, Place, Practice, edited by Anna Birch and Joanne Tompkins, to be published

by Palgrave in 2012. She was 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. In 2010, she also created the soundscape to accompany the Space and Light: Edward Gordon Craig Exhibition which opened at the V&A in London in September that year. Edward Gordon Craig is credited with being the founder of modern stage design and to coincide with the exhibition, Collins convened Edward Gordon Craig: His Legacy,

a multidisciplinary conference at the Sackler Centre. An edited version of this is now available on http://ualresearchonline.arts.ac.uk. Space and Light transferred to Galerie Jaroslava Fragnera in Prague in May 2011 as part of the Prague Quadrennial of Performance Design and Space 2011.

My research continues to focus on performance and practice-based research methodologies which re-engage the ‘the­ atrical’ 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 investi­ gating the construction of post-colonial identi­ties through the ‘staging’ of an African ‘past’. One aspect of this research was an analysis of the sce­ nographic framing of African performance for western audiences. Among the many outcomes of this process was the identification of a dearth of material with which to critically interrogate the visual aspects of performance and scenography in general. 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.

Resea r c h S tat ement

S elected Outpu ts and A chievements

SELECTED PERFORMANCES 2007 The Story of the African Choir, Grahamstown International Festival, South Africa.

2007 Devised and directed Ten Thousand Several Doors, Brighton International Festival. Best Production of the Festival joint winner.

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.

2003–04 Completed draft Bright Angel Point. Reading at the Royal Shakespeare Company, ‘The Other Place’, Lawrence Boswell, (dir.).

SELECTED CONFERENCE PRESENTATIONS 2011 Guest Speaker, Prague Quadrennial Performance Design and Space.

2011 Indian Society of Theatre Research, Hyderabad.

2010 International Federation of Theatre Research, Munich.

2009 International Federation of Theatre Research, Lisbon.

2007 Guest Speaker, Rhodes University Summer School.

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 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 Co-editor, Theatre and Performance Design: a Reader in Scenography, London: 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).

Poster for V&A Exhibition and Day of Lectures

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CUMMINGS Neil

CUMMINGS Neil

Professor

Biography Neil Cummings is Professor of Theory and Practice at Chelsea. He was born in Wales, and lives in London. www.neilcummings.com Research Stat emen t I have evolved a multi­ dis­ciplinary art practice that often requires an intense period of research within the specific contexts in which art is produced, distributed and encounters its audiences. Principally, this has meant working directly with museums, galleries, archives and art schools.

I often work collaboratively with other artists, curators, academics, researchers or producers to create artworks, exhibitions and events from existing collections or contexts. Each artwork or event finds an appropriate form, and these are as varied as creating exhibitions; Enthusiasm at the Whitechapel Gallery, curating film 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 events; Parade in the Rootstein Hopkins Parade Ground.

Currently I am interested in the political economy of creativity, and how art is instituted. While at Chelsea, I contribute to the research cluster Criti­ cal Practice. www.criticalpracticechelsea.org

S elec t ed Out pu t s and Ach ievement s

Selected Exhibitions and Projects 2011 Self Portrait; Arnolfini, year-long residency and exhibition, Arnolfini, Bristol.

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, Bristol and Townhouse Gallery, Cairo, Egypt as part of Lapdogs of the Bourgeoisie.

2008 Post Production, a special programme curated from The Enthusiasts Archive for Manifesta 7, Bolzano, Italy.

2008 Museum Futures: Live, Recorded, Distributed, project commissioned by Moderna Museet, Stockholm, Sweden, as part of their Jubilee celebrations.

2006 Launch of The Enthusiasts Archive. www.enthusiastsarchive.net 2006 Social Cinema consists of a series of temporary cinemas, each installed for one night only into London’s urban fabric. Commissioned by the London Architecture Biennale, and in collaboration with architects, 51% studios.

2005–06 Screen Test 1/4, exhibited as part of The British Art Show Six, touring exhibition.

2005–06 Enthusiasm, at the Whitechapel Art Gallery, London and touring to Kunst Werke, Berlin and the Tapies Foundation, Barcelona.

Selected Texts 2010 ‘Financialization’, in: Colin, A. & Einarsson, K. (eds), A Prior, Belgium: Ghent.

2009 ‘Circulation’, in: Sander, K. (ed.), Circulation, Dublin: Printed Projects.

2008 Selection of texts, The History Book: On Moderna Museet 1958–2008, Germany: Moderna Museet and Steidl Verlag.

2007 ‘From Capital to Enthusiasm’, in: Macdonald, S. & Basu, P. (eds), Exhibition Experiments, Oxford: Blackwell Publishing.

2006 ‘A shadow of Marx’, in: Jones, A. (ed.), A Companion to Art Since 1945, Oxford: Blackwell Publishing.

PLACES ON COMMITTEES AND SELECTION PANELS 2009–ongoing Peer review college member, AHRC. 2007–ongoing Trustee, Nottingham Contemporary.

2006–ongoing Member of Editorial Board, Documents in Contemporary Art, Whitechapel and MIT Press.

Neil Cummings, Self Portrait; Arnolfini 2011; year-long residency and installation at the Arnolfini, Bristol

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74

ELWES Catherine

ELWES Catherine

75

PROFESSOR

Biography Catherine Elwes studied at the Slade School of Art and the Royal College of Art. She co-curated two landmark feminist exhi­ bitions, Women’s Images of Men and About Time, (ICA, London, 1980). From the 1980s, she spe­ cialized in video and installation exploring gender and identity. She has participated in many international festivals, including the British Art Show in Australia; Video Brazil in São Paulo, Bra­­zil; and Recent British Video in New York, USA .

Her tapes have been shown on Channel 4 as well as on Spanish, Canadian and French tele­ vision networks. Her work is archived at Luxonline and Rewind.

Elwes is the author of Video Loupe (KT Press, 2000) and Video Art – A Guided Tour (I.B. Tauris, 2005), and she has written for publications such as Film­ waves, 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 early video art from the UK , Canada and Poland. Her most recent curatorial projects have been Figuring Land­ scapes, a collection of 55 works on the theme of landscape from the UK and Australia, which toured to 11 venues in both countries between 2008–10; and Sea Fever, Finis Terrae Festival, Ouessant, Brittany, France.

In collaboration with Intellect Books, she is founding the international

Research Stat emen t

journal Moving Image Review and Art Journal (MIRAJ ). With associate editors in Australia, New Zealand and Canada, the journal will map and debate moving image art practices from across the world. The first issue of MIRAJ is due for publication in 2011/12.

The journal is supported by the AHRC Artists’ Moving Image Research Network, of which Elwes is Principal Investigator. The Network brings together a distinguished international group of historians, theorists, critics, curators and practitioners to consider issues of contemporary relevance to the theory and practice of artists’ film and video. www.movingimagenetwork.co.uk Catherine Elwes, Passing Shots Haiti, singlescreen video, 2010

S elec t ed Recent Relevan t Out pu t s

selected PUBLICATIONS 2011 ‘The Domestic Spaces of Video Installation – Television, the Gallery and Online’, in: Expanded Cinema: Film Art Performance, Tate Publishing.

2008 Elwes, C., Ball, S. & Chua, E. J. (eds), Figuring Landscapes, Catherine Elwes/UAL/ACESE. 2006 Elwes, C. & Meigh-Andrews, C. (eds), Analogue; Pioneering Video from the UK, Canada & Poland: British Council/ACE. 2006 ‘Tamara Krikorian, Defending the Frontier’ and ‘War Stories’, in: Hatfield, J. (ed.), Film & Video Anthology, London: John Libbey Publishing. selected EXHIBITIONS 2011 Kensington Gore, in: ‘Video Zone’, Centre for Contemporary Art, Tel Aviv.

2010 Kensington Gore and The Gunfighters, in: ‘Rewind & Play’, Lightbox, Tate Britain; Camden Arts Centre; Raven Row, London.

2010 Travelling Shots: Haiti, in: ‘One Minute Volume 4’, touring to the BBC Big Screen, Manchester and Liverpool; Contemporary Media & Art Festival, Meinblau, Berlin; etc.

2008–10 Pam’s War, in: ‘Figuring Landscapes’, Tate Modern and touring UK and Australia.

2008 Re-Reading Pam, in: ‘One Minute Volume 2’, touring to Contemporary Art Fair, Essen, Germany; Proxy NoD, Prague, Czech Republic; The Marseille Project Gallery, France.

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 2011 ‘Peter Campus; Opticks’ in: MIRAJ vol.1.

2009 ‘Catherine Elwes: Questions and Answers’ in: Guarda, D. (ed.), Video Art and Art and Essay Films in Portugal.

2008 ‘Kate Adams: Feeling and Knowing’ in: Vertigo Magazine, vol.4.

2005 ‘A Meeting of Minds’ in: Talking Back to Science, Art, Science and the Personal, Wellcome Foundation, UK. 2005 ‘A Polemical History of Video, In Brief’ in: Contemporary Magazine.

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.

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FARTHING Stephen

FARTHING Stephen

Professor

Biography Professor Stephen Farthing is the Rootstein Hopkins Chair of Drawing at the University of the Arts London. He studied at St Martins School of Art, then the Royal College of Art. From 1990–2000 he was the Ruskin Master of Drawing at the University of Oxford; from 2000–04 he was director of the New York Aca­ demy of Art. He is currently writing Living Color for Yale University Press with David Kastan and editing The Sketchbooks of Jocelyn Herbert for Royal Academy Publications. Farthing is involved with a number of projects with overseas institutions, which include: RMIT and Monash Uni­ versities in Melbourne, The University of Auckland and the National Art School, Sydney.

Research Stat emen t All Farthing’s research is geared towards establishing firstly a definition or taxonomy of drawing, then a more complete understanding of drawing as an aspect of general literacy, and finally effective ways of teaching drawing today.

In the first instance, most of Farthing’s research is collections – and archive – based. For the most part, this involves visiting collections then trying to make sense of what he sees; this is done by a mix of drawing and writing. Currently, he is focusing on two primary areas; modern American drawing and the drawings made after first contact by prelit­erate societies. At a more physical level, he has been working with Aston Villa FC exploring links between sports skills and drawing skill acqui­sition. In two projects developed with the British Museum and Tate Gallery, London, Farthing is 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 Farthing’s activities as a painter and his research as a Professor of Drawing; one feeds the other, archival work on drawing informs his painting just as practical research projects in drawing serve to inform his painting.

S elec t ed Out pu t s and Ach ievement s

Selected Solo Exhibitions 2011 Laboratory II, The Back Story, The Royal Academy, London.

2010 The Fourth Wall, Royal West of England Academy, Bristol.

2010 The Drawn History of Painting, The Drawing Gallery, Wales.

Selected Group Exhibitions 2011 Drawing: Interpretation/Translation, Chinese University, Hong Kong.

2011 British Art – Royal Academicians, Seongnam Art Centre, Korea.

2010 Royal Academy Summer Exhibition, Royal Academy of Art, London.

Selected Published Books 2010 Editor, ART: the Whole Story, Thames & Hudson.

2008 Editor, 501 Great Artists, UK: Barron’s Educational Series; New Zealand: Penguin.

2007 Editor, 1001 Paintings You Must See Before You Die, UK: Cassel; Australia: ABC Books; USA: Rizzoli.

Selected Conference presentations 2011 Keynote Speaker, V&A Sackler Conference, on Artists in Residence.

2011 Museum Art Schools: a paper delivered at the Association of Art Historians’ Annual Conference, University of Warwick.

2010 Keynote speaker, Drawing Out, 2010, RMIT, Melbourne, Australia.

2008 ‘Performing Marks’, at Radcliffe Institute for Advanced Research, University of Harvard, Cambridge MA.

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

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GARCIA David

GARCIA David

79

Professor

Biography

Professor David Garcia is Dean – Graduate School and Enterprise Development at CCW and was previously Professor of Design for Digital Cultures, a 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 programme) 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 con­ tributed 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 at Chelsea, with Eric Kluitenburg of De Balie in Amsterdam, he launched the Tactical Media Files, an online web-based archive of Tactical Media content. This archive forms the basis of the first centralized information resource for Tactical Media art scholarship and action. It will form the basis of a two-year public research programme into the Tactical Media legacies and futures.

In 2011, we have greatly increased the range of sources and content of the Tactical Media Files Repository in all areas, including the moving

image. We have also upgraded the site infrastruc­ ture and have included a search function and the blog being linked from the site. The blog and the RSS feeds and share tools should all help create greater visibility of the resource over time.

The blog has been launched with a new essay co-written for the blog, which reframes tactical media for today. As well as its home on the blog, we are already disseminating and publishing the text beyond the site. Additionally, the Tactical Media Files video blog can be found at TMF featuring a number of high profile contributions: www.tacticalmediafiles.net/video.jsp? objectnumber=52467 (also the interview with Camille Otrakji: www.tacticalmediafiles.net/article. jsp?objectnumber=52440).

Resea r c h S tat ement

The focus of my work is what I call tactical media – the impact of the rise of small-scale DIY media, tools and net­works in art, social and political activism, and the rise of new social movements. The research involves making personal installations, videotapes and TV programmes, and curating exhibitions along with an extensive output of published theo­ retical writing on critical media and internet culture. In June 2010, we launched a centralized web archive of Tactical Media content. This will form the basic reference point for a two-year programme of public research in the form of events, exhibitions and conferences.

David Garcia, The Tactical Media Files; a web-based archive and blog.

A living archive for the worldwide tactical media movement.

S elected Outpu ts and A chievements

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. & 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.

SELECTED CURATORIAL PROJECTS 2010 ElectroSmog, established Chelsea College as a node in an experimental communications experiment.

SELECTED SCREENINGS 2010 Screening and performance (with Kevin Atherton), Glasgow International Art Festival.

2009 Screenings and cable TV transmission, Nederlands Instituut voor Media Kunst.

SELECTED AWARDS 2007 Arts Council UK + Virtuel Platform: funding for (Un)common Ground.

Selected 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, LCASE Conference for English Arts Council Officers.

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HOGAN Eileen

HOGAN Eileen

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Professor

Biography

Eileen Hogan is a practising artist and researcher who has exhibited exten­ sively in the UK and America. Her practice includes painting, book works and printmaking.

Since 1980, she has been represented by and had regular solo shows at The Fine Art Society, London. Other recent exhibitions include, with Romilly Saumarez Smith, at the Yale Center for British Art, which she co-curated with Elisabeth Fairman (Senior Curator at YCBA ); the Victoria and Albert Museum, 2010; BP Portrait Awards at the National Portrait Gallery, 2009, and Eileen Hogan’s Poetry Box, San Francisco Center for the Book, 2008 (research for The Poetry Box was funded by the Arts and Humanities Research Coun­cil and Muji. The archive of images and let­ ters was purchased by the YCBA ). Commissions and awards include recording the Women’s Royal Naval Services for the Artistic Records Committee of the Imperial War Museum; and a Churchill Traveling Fellowship for research in America, Australia and Japan. Public collections in which her work is represented include the British Library; Government Art Collection; Stadsbibliotheek Haarlem; Houghton Library, Harvard; Imperial War Museum, London; Library of Congress, Washington, DC ; National Library of Australia; Victoria and Albert Museum; and Yale Center for British Art. Research Stat emen t

My research is located across fine art and theatre. An important strand concerns the various ways that artists, practitioners and students engage with and ‘play’ in archives, the concomitant impact that collections and archives can have on practice and what the educational benefits of ‘archive’-based study in the visual arts might be. Examples include The Jocelyn Herbert Archive. Herbert (1917–2003) was one of

the most influential designers of the period and her approach altered the way that directors and audiences came to view stage design, and contributed to a fundamental shift in the relationship between playwright, director and designer. Her extensive archive, which con­ sists of drawings, production photographs, notebooks, sketchbooks, diaries, models, masks and correspondence, is housed at Wimbledon College of Art. Its positioning within CCW ’s Grad­ uate School represents a unique opportunity to explore the potential integration of a worldclass archive into the life of a practice-based university. A collaboration with the National Theatre was initiated in 2010 with a lecture

by Richard Eyre in the Olivier Theatre, the first of ten. The 2011 lecture will be part of the Linbury Awards and will contribute to the debate about the role of the scenogra­pher and how authorship is revealed in their relation­ship with directors and writers.

The Baring Archive is one of the finest archives of a financial institution anywhere in the world. Most recent research in this seven-year collaboration focuses on new work being created in response to the collection by research staff from CCW ’s Graduate School. This has raised questions about uncovering hidden narra­ tives in archives, the construction of archives and the fluctuating notion of ‘value’ relating to banking and to the arts themselves. Conver­ sations between artists, financiers and collectors are underway as part of the continuing project, which is seen as a catalyst provoking debate across the arts, curatorial practice, finance and banking. Each of these projects is supported by a PhD student.

S elected Outpu ts and A chievements

SELECTED EXHIBITIONS 2010 Yale Center for British Art USA (with Romilly Saumarez Smith).

2010 Romilly Saumarez Smith: Bookbindings for Eileen Hogan, Victoria and Albert Museum.

2009 Artist-In-Residence: Wimbledon Championships, All England Lawn Tennis Club.

2009 BP Portrait Award, National Portrait Gallery; Southampton City Art Gallery; the Dean Gallery, Edinburgh (3 portraits of Anya Sainsbury included).

2008 The Fine Art Society London.

2007 Eileen Hogan’s Poetry Box, San Francisco Center for the Book USA. 2007 BP Portrait Award, National Portrait Gallery; Laing Gallery; National Portrait Gallery of Scotland (3 portraits of Ian Hamilton Finlay included).

SELECTED Publication 2011 3 portraits of Ian Hamilton Finlay in 500 Portraits: BP Portrait Award, published by the National Portrait Gallery.

SELECTED CURATORIAL PROJECTS 2011 Editor and participant, The Currency of Art. 2010 Co-curator, Yale Center for British Art. 2009 Curator and participant, Re:SEARCHING: Playing in the Archive, The Baring Archive, ING Bank London.

Selected PRESENTATIONS AND CONFERENCE CONTRIBUTIONS 2011 Conference presentation, Geographies of Collections: Archival Insights, Royal Geographical Society.

2010 Chair, The Value of the Open Drawing Exhibition, to mark 10th anniversary of the Jerwood Charitable Foundation’s involvement with the Jerwood Drawing Prize, Jerwood Space.

2010 The Contemporary Thomas Lawrence, National Portrait Gallery (part of the Inside Out festival sponsored by New Statesman).

2008 Coordination of two research conferences with Tate Britain and speaker, The Art of Giving: the Artist in Public and Private Funding and Creative Scholars.

Drawing by Jocelyn Herbert for If … (directed by Lindsay Anderson): pen, ink and watercolour, 1968. © The Estate of Jocelyn Herbert Herbert and Lindsay Anderson had a long working relationship, producing seminal works in British film and theatre, including If … in 1968. CCW Graduate School is building a relationship with the University of Stirling, which holds Anderson’s Archive, a chance to compare two extensive collections of private papers and drawings.

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PICKWOAD Nicholas

PICKWOAD Nicholas

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Professor

Biography Nicholas Pickwoad is a Professor at CCW . 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 Univer­ sity 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 cen­tre, 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 is a member of the Archbishop of Canterbury’s Advisory Panel for Libraries and Archives and also of the Derry and Raphoe Diocesan Library Conservation Project.

He also teaches courses in the UK , Europe and America on the history of European bookbinding in the era of the handprinting press, and has published widely on the subject.

Research Stat emen t My major current research centres on the construction of a multi­ lingual 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.

The Book of Common Prayer, and Administration of the Sacraments, Oxford: printed by the University Printers, 1709. An English binding covered in black shagreen (sharkskin) with silver furniture

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.

Ligatus recently collaborated with the Centre for the Study of the Book at the Bodleian Library and CERL (the Consortium of European Research Libraries) to put on the conference ‘The Place of Bindings’ to investigate and discuss current resources for the history of bookbinding and its incorporation into the wider bibliographical field. The conclusions of the seminar discussions were presented at the CERL/LIBER (Ligue des Bibliothèques Européennes de Recherche, the main research libraries network in Europe) Conference in Barcelona in June 2011.

S elec t ed Out pu t s and Ach ievement s

SELECTED PUBLICATIONS 2011 ‘Library or Museum? The Future of Rare Book Collections and Its Consequences for Conservation and Access’, in: New Approaches to Book and Paper Conservation, Austria: Horn.

2010 Andrew Honey and Nicholas Pickwoad, ‘Learning from the Past: Using Original Techniques to Conserve a Twelfth-century Illuminated Manuscript and Its Sixteenth-century Greek-style Binding at the Monastery of St Catherine, Sinai’ in: Rozeik, C., Roy, A. & Saunders D. (eds), Conservation and the Eastern Mediterranean: Contributions to the Istanbul Congress 20–24 September

2010, London: International Institute for Conservation of Historic and Artistic Works.

2009 Chapter on Bookbinding in: Michael, F., Suarez, S.J. & 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’, in: Tsironis, N. (ed.), Vivlioamphiastis 3, 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 Underway 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: Myers, Harris & Mandelbrote (eds), Against the Law, London: British Library and Oak Knoll Books.

2004 ‘The Condition Survey of the Manuscripts in the Monastery of St Catherine on Mount Sinai’, in: Paper Conservator, vol.28.

SELECTED AWARDS 2005 Principal Investigator, an English/Greek terminology for the structures and materials of Byzantine and Greek bookbinding, AHRC Research Standard Grant.

Selected KEY PROFESSIONAL POSITIONS 2009 Council Member, the Bibliographical Society of Great Britain.

1978 Advisor, the National Trust on Book Conservation.

1977 Member, the IIC (Fellow since 1988).

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POLITOWICZ Kay

POLITOWICZ Kay

Professor

Biography Kay Politowicz is Professor of Tex­tile Design, co-founder and Project Director for the Textiles Environment Design (TED ) research group, which has developed strategies for designers to address the environmental, social and economic impact of the life cycle of textile products. She has been instrumental in esta­ blishing the post of Research Fellow and the TED Resource at Chelsea. TED research has contri­ buted significantly to the successful designation of the Textile Futures Research Centre (TFRC ) at UAL . She is an active member of the UK Asso­ ciation of Fashion and Textiles Courses (FTC ).

Previously, as Course Director for BA (Hons) Textile Design at Chelsea, Politowicz developed a course known for a high level of achievement in specialist material processes and for an environ­ mental focus to curriculum developments within the subject. In her current role, she devises strategies to connect the taught curriculum at BA and MA level, and to develop opportunities for partcipation in practice-based research projects. Politowicz’s practice has evolved into col­ la­borative projects with design partners to test theories of sustainable design for innovation in the production, use and disposal of textiles.

In leading the TED research platform, I have encouraged staff, students and graduate designers to collaborate in the develop­ ment of projects and events, which explore the potential for fabrics to change or define an envi­ ronment. I explore materials and processes, from principles inherent in life cycle analysis of a product for interior and fashion contexts.

I locate, develop and promote practical opportu­ nities in which students and graduates can work together in research teams to investigate theories of sustainable design.

CURR EN T R E SE A R C H

I am currently co-curating the ‘Sustainability/ Responsible Living’ section of the corporate sum­ mit exhibition for US company Odyssey Vanity Fair Corporation, to demonstrate interconnected design for the development of sustainable approaches in their worldwide textile and fashion brands. In May 2011, the TED platform in TFRC made a successful project proposal as part of a research consortium, ‘MISTRA Future Fashion’ (2011–15/19), funded by the Swedish gov­ ernment through Mistra, The Foundation for Strategic Environmental Research. As a conse­ quence, I have been invited to become Visiting Professor at Konstfack University College of Art, Craft and Design, Stockholm, Sweden, for the duration of the project. www.tedresearch.net S elec t ed Out pu t s and Ach ievement s

Selected CONFERENCE CONTRIBUTIONS 2011/12 Co-curator, VF Corp Summit event, USA – prepared workshops, lectures and exhibition based on TED’s ‘TEN’ strategies for sustainability.

2011 Juried conference presentation, ‘We Cannot Afford Cheap Things: Teaching, Research and Enterprise’.

Conference: ‘Towards Sustainability in the Fashion & Textile Industry’, KEA (Copenhagen School of Design and Technology) & CRD (Center for Responsible Design) & Dansk, Copenhagen, Denmark.

2011 Paper for Foresight publication, ‘Shared Strategies: Mapping the Territory.’ Fashion Textiles Association Conference, Foresight Centre, Liverpool.

2010 Proposed and organized a project for BA and MA students in conjunction with Burberry Plc. investigating slow design and craft techniques in sustainable pro­ duction as a practical outcome of the application of TED research strategies.

2010–12 External Examiner, MA Textile Design, Royal College of Art. 2010 Conference presentation / keynote speaker, Prato Textile Museum, Italy. Conference: ‘Making The Future Materialize – From Training to Industry’. Eurotex ID Final Conference, heritage@work, Museo del Tessuto, Prato, Italy.

2010 Contributor, ‘Electrosmog International Festival for Sustainable Mobility’, international online conference, chaired from Amsterdam by John Thackera.

Kay Politowicz, Durability Day, pigment-printed recycled garment, 2010

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86

SCRIVENER Stephen

SCRIVENER Stephen

Professor

Professor Stephen Scrivener studied to produce artworks as a means of comple­ menting what has been a theoretical inquiry.

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 S elec t ed Out pu t s and Ach ievement s computer as a means of art production. Subse­ Selected PUBLICATIONS quent to the Slade, Scrivener completed his PhD 2010 ‘Transformational Practice: On the Place of Material in a computer science department and, thereafter, Novelty in Artistic Change,’ in: The Routledge Companion to Research in the Arts, Abingdon, Oxford: Routledge. worked as a lecturer and researcher in various 2010 ‘Triangulating Artworlds: Gallery, New Media and university computer science departments. Up to Academy,’ in: Art Practice in a Digital Culture, Aldershot, 1992, his research focused on the design and Hants: Ashgate Publishing Ltd. development of interactive systems for artists and 2010 ‘The Roles of Art and Design Process and Object in Research’, in: Reflections and Connections: on the designers and on how such systems are used.

Relationship Between Creative Production and Academic During this period he undertook many funded Research, Helsinki: University of Art and Design, Helsinki [e-book]. design-focused research projects (sup­ported by 2009 ‘Connections: a Personal History of Computer Art grants in excess of £2 million) almost all of which Making From 1971 to 1981’, in: White Heat Cold Logic: involved academic, commer­cial and industrial British Computer Art 1960–80, Massachusetts, USA; London: MIT Press. collaboration. Scrivener moved back into an 2007 ‘Visual Art Practice Reconsidered: Transformational art and design department in 1992, and since then Practice and the Academy’, in: The Art of Research, his research has focused on the theory and Helsinki: Helsinki University of Art and Design. practice of what is often called practice-based Selected EXHIBITIONs research. During his research career, he has 2011 Csepel Works, Labor Gallery, Budapest, Hungary. completed funded research projects; produced Selected Key positions over 175 research outcomes; supervised more 2011 International Expert, Research Assessment Exercise, than 30 research degree students to completion Romania. and examined over 40. Scrivener has partici2010 Invited to review practice-based research grant proposals for the Austrian Research Council. pated in the research context in a range of func­ 2009 Invited to review practice-based research grant tions; he is the founding editor of the Interproposals for the Danish Research Council. national Journal of Co-Design, published by Taylor 2009 Panel B Chair, AHRC. 2009 Member, the Research Committee, Kunsthogskolen: and Francis, and is an elected fellow of the Bergen National Academy of the Arts.

Design Research Society.

Biography

Curren t Resear c h

My primary research is concerned with the theory and practice of practice-based research, which has been reported in a series of journal papers and book chapters.

My thinking on this topic progresses from the proposition that the activities of art, design, etc., already contain the activity of research, understood as that function that expands each field’s potential and relevance. I have now begun

Selected Acquistions 2011 Eighteen computer-generated drawings, V&A, London.

Stephen Scrivener, Csepel Works, mixed media installation, 2011

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WAINWRIGHT Chris

WAINWRIGHT Chris

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Professor

Biography

Professor Chris Wainwright is the Head of Camberwell, Chelsea and Wimbledon Colleges. He is also Past President of The European League of Institutes of the Arts (ELIA ), an organi­ sation representing over 350 European Higher Arts Institutions. He is currently a member of The Tate Britain Council and a Trustee 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 Rise, a video installation for the Heijo-kyo temple as part of the 1300 year celebrations of the city of Nara, Japan and What Has To Be Done, a photo/ performance event for Aldeburgh Arts 2011. 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. Unfold has been shown in Vienna, London, Newcastle, Chicago and New York and is planned to continue its world tour to Beijing and Seoul.

His time based work Capital has been shown at File 2002 and Channel 14 at File 2005 in São 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.

Resea r c h S tat ement

I work primarily through photography and video as a means of ad­ dressing 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 con­ struction 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, communi­ cation, invasion and pollution. Overall I have a concern for representing the issues and effects of environmental change though my direct presence, actions and journeys, always undertaken in darkness, 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.

Chris Wainwright, What Has To Be Done, photo/performance, Aldeburgh, 2011

S elec t ed Out pu t s and Ach ievement s

Selected Exhibitions 2011 What Has To Be Done, photo/performance, Aldeburgh Arts 2011, Aldeburgh, UK 2010 Rise, site specific video installation for 1300 year 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 Selected Curatorial Projects 2010 Unfold, Cape Farewell exhibition on climate change, Co-curator, exhibition to touring UK, Europe and worldwide Selected Publications 2011 In Light, monograph publication, published by Castrum Peregrini, Amsterdam 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 Selected Key Positions and Memberships 2009–11 Jury Member for Global Design Cities Organization, Seoul, South Korea 2009–11 Board Member, Cape Farewell 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 2008–09 Member of the Sensuous Knowledge Editorial Board for research publications, National Academy of Art, Bergen, Norway

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WATANABE Toshio

WATANABE Toshio

PROFESSOR

Biography

Professor Toshio Watanabe is Director of the Transnational Art, Identity and Nation (TrAIN) research centre. He studied at the Universities of Sophia, Tokyo, Courtauld Insti­ tute of Art, London and in Basel, where he completed his PhD. He has taught at the City of Birmingham Pol­ytechnic, where he ran the MA in History of Art and Design course. He has been at Chelsea since 1986, initially as the Head of Art History and later as Head of Research.

Professor Watanabe is an art historian, studying mostly the period 1850–1950, who is interested in exploring how art of different places and cul­ tures intermingle and affect each other. Current external roles include acting as Vice President of CIHA (Comité International d’Histoire de l’Art) and as Chair of International Jury of Künstlerhaus Schloss Balmoral, Bad Ems, Germany.

Research Stat emen 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, water­ colour painting, photography and popular graphics. Particular emphasis is put on the con­ sumption of these art forms locally and globally.

Projects being undertaken include the following themes: the theory of modern landscape and imperial architecture in Japan, 1880s–1940s; the history and reception of the modern Japanese garden; the construction of Japanese Art History; British Japonisme.

S elec t ed Out pu t s and Ach ievement s

Selected Publications 2010 ‘Why Censor a Nude Painting? Kuroda Seiki and the Nude Painting Controversy’, in: Sakae Murakami-Giroux et al (eds), Censure, Autocensure et Tabous, Arles: Philippe Picquier.

2010 ‘The Modern Japanese Garden in a Transnational Context’, in: Lieselotte E. Saurma-Jeltsch & Anja Eisenbeiss (eds), The Power of Things and the Flow of Cultural Transformations, Berlin: Deutsche Kunst Verlag.

2010 ‘The Establishment of the Concept of Nature in Modern Japan’, in: Sensing Nature: Rethinking of the Japanese Perception of Nature, exhibition catalogue, Mori Museum of Art, Tokyo.

2008 ‘Modernism: Self and Other Represented In (Or By Incorporating) Other’s Style’, in: Self and Other: Portraits from Asia and Europe, exhibition catalogue, National Museum of Ethnology, Osaka.

Selected Presentations and Conference Papers 2011 ‘British View of the Japanese Landscape: From Wirgman to Conder’, lecture at Kanagawa Prefectural History Museum, Yokohama.

2011 ‘Mizue: an Alternative Art Magazine Promoting Anglophilia, Modern Landscape and Watercolor Movement’, AAS/ICAS conference at Honolulu.

2010 ‘What is Japonisme: Terminology and Interpretation’, International Conference at the Manggha Museum of Japanese Art and Technology, Krakow.

2010 Keynote, ‘20th Century Japonisme: Its Story between 1920s and 1950s’, International Conference on Orientalism/Occidentalism at Russian Academy of State Service under the President of the Russian Federation, Moscow.

2010 Convenor, Forgotten Japonisme Conference, V&A, and paper ‘Transnational Identity of a Garden: Gardens of Manzanar Internment Camp, California and Queen Lili’uokalani Garden at Hilo, Hawaii’.

2009 ‘The Historiography of the Study of American and British Japonisme’, symposium on American and British Japonisme, Bunka Women’s College, Tokyo. Organized jointly by the Society for the Study of Japonisme and TrAIN research centre.

Selected Awards 2008–09 Anglo-Japanese Daiwa Foundation, Sensing Cities project with Aoyama Gakuin University (PI) and Bartlett School of Architecture, UCL. 2007–10 AHRC grant, ‘Forgotten Japonisme’, major threeyear research project.

Queen Lili’uokalani Garden at Hilo, Hawaii. Photo: Toshio Watanabe

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READERS Running headlines

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ASBURY Michael

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BASEMAN Jordan

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BISWAS Sutapa

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CROSS David

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EARLEY Rebecca

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FAIRNINGTON Mark

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FAURE WALKER James

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FORTNUM Rebecca

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KIKUCHI Yuko

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NEWMAN Hayley

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PAVELKA Michael

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QUINN Malcolm

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TULLOCH Carol

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ASBURY Michael

ASBURY Michael

Reader

Biography

Dr Michael Asbury is Reader in the History and Theory of Art and a core member of the research centre for Transnational Art, Identity and Nation (TrAIN). An internationally recog­ nized specialist in modern and contemporary art in Brazil, he has published extensively and has curated numerous exhibitions in the UK , Europe and Latin America.

Research Stat emen t

The geopolitical expansion of the canons of art beyond the tradi­ tional hegemonic Euro-American axis – a fact corroborated by the proliferation of international biennials and art fairs, as well as the revised and enlarged scope of interests expressed by auction houses – raises the question as to whether art historical precedents, imbued by radicalism and the rhetoric of postcolonial and/or cultural studies, have not in fact become mere means of legitimizing certain forms of contemporary practices. My practice, both as writer and curator, is founded on the rigour of art historical research and a critical engagement with contemporary art that traverses commercial, academic and museo­logical domains.

2011 ‘Ocupações/Descobrimentos’, in: Vaz-Pinheiro, G. (ed.), (Des)locações: Exílio, Topologia, Deslocalização, Faculdade de Belas Artes, Universidade do Porto, O Porto.

2011 ‘Miguel Palma’s State of the Art’, in: Miguel Palma: Assembly Line, Fundação Caloste Gulbenkian Foundation, Lisbon.

2010 ‘Barbarela Cravo e Canela’, in: Ernesto Neto, Intimacy, exhibition catalogue, Astrup Fearnely Museum of Modern Art. Selected Editorships 2012 Co-editor, ‘Contemporary Art and the Black Atlantic’ (working title) in: Critical Forum Series, Tate Liverpool and Liverpool University Press (predicted).

2012 Co-editor, ‘Meeting Margins: Transnational Art’ in: Latin America and Europe 1950–78, AHRC project outcome (predicted).

2011 Dossier Meeting Margins including authored article ‘A Popularisação do Pensamento Científico’, Rio de Janeiro: Revista Concinnitas, UERJ (expected).

2009 Anna Maria Maiolino: Order and Subjectivity, Nicosia: Pharos Publishers.

Selected Curatorship 2010 Guest curator, Galeria Millan, São Paulo.

2009 Guest curator, Camden Arts Centre, London.

2009 Guest curator, Museum of Contemporary Art, Fortaleza.

2008 Guest curator, Municipal Museum, Nicosia.

2008 Guest curator, Nara Roesler Gallery, São Paulo.

2006 Guest curator, Henry Moore Institute, Leeds.

2005–09 Guest curator, Pharos Trust, Nicosia.

2002/09 Guest curator, Gallery 32, London.

2001/08 Guest curator, Tate Modern, London.

S elected O u t put s and A c h i evemen t s

Selected PUBLICATIONS 2010 Julio Villani: It’s a Game, Paris: Archibooks & Sautereau Éditeur.

2010 Shirley Paes Leme: Heteropias Cotidianas, São Paulo: Editora Alfaiatar.

Selected Articles and Chapters 2011 ‘The Oruboru Effect’, in: Third Text Journal, London (expected).

2011 ‘Flans, Urnas Quentes and the Radicalism of a Cordial Man’, in: Antonio Manuel, Americas Society, New York (expected).

2011 ‘Viver é muito perigoso’ (To Live is Very Dangerous), in: Shirley Paes Leme, São Paulo (expected).

2011 ‘Miguel Palma: Man, Machine and Motion: Night, Night, Mr Tenjag’, Mead Gallery, Warwick Arts Centre, Coventry (expected).

Antonio Manuel, Killed a Dog and Drank its Blood, ink on newspaper, 1967

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96

BASEMAN Jordan

BASEMAN Jordan

Reader

Biography

Jordan Baseman is a visual artist and filmmaker. He received a BFA from Tyler School of Art, Philadelphia, Pennsylvania and an MA from Goldsmith’s College, University of London. Baseman is currently Reader in TimeBased Media at Wimbledon College of Art, Uni­ versity of the Arts London, and is also a Lecturer at the Royal College of Art Sculpture School and The Ruskin School of Drawing and Fine Art, Uni­ versity of Oxford. Jordan is currently the Artist in Residence Fellow at St John’s College, Oxford.

My most recent work is a synthesis of reportage, portraiture, docu­ mentary, creative non-fiction and narrative prac­ tices. 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.

ingly interested in trying to manufacture.

In addition, I have been hand-processing colour 16mm film, using buckets in a simple but totally blacked-out space, in order to encourage visual breakdown, fragmentation and distortion, and to really push the unpredictable nature of the materiality of film itself at its most fundamental level. This direction in my practice reflects my interest in relinquishing the boundaries of control within a process of imagemaking: celebrating the collision of repre­ sentation and abstraction through process.

Research Stat emen t

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 audiences.

Narration, storytelling, personal experience and belief interest me a great deal. The unpredict­ ability of the interview situation excites me.

In my films, speculation, opinion, ideas and anec­ dotes are often interwoven with intimate experiences of empirical, known information.

Visual abstraction, within a moving image context, is something that I have been increas­

Recent Relevan t Out pu t s

In the past few years, Jordan Baseman has presented solo exhibi­ tions at Matt’s Gallery, London; The Photo­ graphers’ Gallery, London; ArtSway, Hampshire; Baltic Centre for Contemporary Art, Gateshead; Monash University, Melbourne; Wellcome Collection, London; Aberdeen Art Gallery; and Collective Gallery, Edinburgh.

His films have recently featured in exhibitions and film festivals including 53rd Venice Biennale; Los Angeles Animation Festival (where he won Best Film in the Dangerous Experiments category); San Francisco Short Film Festival; Melbourne Underground Film Festival (where he won Best International Short Film); Tatton Park Biennial; Gstaad Film Festival; and London Short Film Festival.

Jordan Baseman 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. He has exhibited and screened his work internationally in many countries including Australia, USA , Austria, Germany, Japan, Portugal, France and Italy.

Jordan Baseman, 1973, 16mm film production still, 2011

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BISWAS Sutapa

BISWAS Sutapa

Reader

Biography

Sutapa Biswas is an internationally known London-based artist, and Reader in Fine Art and Cultural Studies at Chelsea. Born in Santinekethan, India in 1966, she moved to England at a young age, where she has lived ever since. Biswas received her Bachelors Degree from the University of Leeds, studying Fine Art and Art History (1981–85), with a History and Philosophy of Science option. Between 1988–90, she was a postgraduate student of the Slade School of Fine Art, University College, London; and thereafter, at the Royal College of Art, London (1996–98). She was a Fellow at the Banff Centre for the Arts (1990/92), a recipient of The National Endowment for the Arts Award, USA (1998), and a nominee for the European Photography Award in 1992.

Biswas’s works have been widely exhibited.

Venues include: Tate Modern, UK ; Melbourne International Arts Festival 2006, Australia; Art Gallery of Ontario, Toronto, Canada; 6th Havana Biennial, Cuba; Expo Arte, Guadalajara, Mexico; Nara Roesler Gallery, São Paulo, Brazil; Gallery Espace, Delhi, India; Ludwig Museum of Contemporary Art, Budapest; Whitechapel Art Gallery, UK ; Angel Row Gallery, UK ; City Art Gallery, Leeds, UK ; Douglas Cooley Art Gallery, USA ; Yale University Art Gallery, USA ; Franklin H Williams Cultural Centre, New York, USA ; Vancouver Art Gallery, Canada.

She has been a Visiting Fellow and artist in many leading institutions, including: Yale University, USA ; Yale British Art Centre, USA ; The Whitney Programme, New York, USA ; San Francisco Art Institute, USA ; Ruskin School of Fine Art, Oxford University, UK ; Stanford University, USA ; Mills College, USA ;

Reed College, USA . She is currently a Member of the Board of Directors for the Film and Video Umbrella, UK .

Resea r c h S tat ement

Sutapa Biswas works in a range of media, including drawing, film and photography. She is particularly interested in the temporal relationships between drawing and film, in that for her they formally represent spatial opposites. Biswas’s works often possess a stark but poetic resonance that broadly centres on questioning the relationship between art and politics, exploring themes of time and history in relation to questions of subjectivity, identity, gender and race. Biswas first came to prominence in 1985, when she exhibited a large painting, Housewives with steak knives, in a groundbreaking exhibition entitled The Thin Black Line, curated by the artist Lubaina Himid and hosted at the ICA , London. For 25 years, Biswas’s works have played a key role internationally in shifting the parameters of a discourse that challenges the Eurocentric nature of art history and criticism, and artistic practices, in relation to questions of modernism.

Biswas is currently developing new works for forth­coming solo exhibitions in London, and India.

Recent Relevan t Out pu t s

Her work recently featured in: Graves Gallery, Museums Sheffield, UK ; Twenty-One, Terrace Gallery and Harewood House, UK ; A Missing History: ‘The Other Story’ Re-visited, Aicon Gallery, London, UK ; British Subjects: Identity and Self-fashioning 1967–2009, Neuberger Museum, New York, USA ; Lo Real Maravilloso, Lalit Kala Akademy, Delhi, India; Audio Arts Archive, Tate Britain, UK .

Sutapa Biswas, The Price of Freedom is Eternal Vigilance, slide image projection / photograph, lambda print on c-type photographic paper, variable dimensions, 2011

Biswas’s conference paper, Through the LookingGlass: Questions of Governance, The Art School in Crisis, was selected by Tate as part of their panel session ‘Art School Educated: Rethinking Art Education in the 21st Century’ for the AAHC 2011.

A monograph of Biswas’s work, including essays by Laura Mulvey, Griselda Pollock and Guy Brett, is published by inIVA (I S B N 1-89984639-5), 2004.

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100

CROSS David

CROSS David

101

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 interdiscipli­ nary, research-oriented and socially engaged.

David has given lectures internationally, and chaired events including at the South London Gal­lery, Tate and Whitechapel. As an artist, David began collaborating with Matthew Cornford while studying at St Martin’s School of Art in 1987, and graduated from the Royal College of Art in 1991.

In London, the work of Cornford & Cross has been exhibited at the Camden Arts Centre, the ICA , the Photographers’ Gallery and South London Gallery. They completed a solo touring exhibition at the Northern Gallery for Con­ temporary Art, Aspex Gallery, Portsmouth, and the Exchange Gallery, Penzance. They have carried out an Arts Council residency at the London School of Economics, and a British Coun­ cil residency at Vitamin in Guangzhou, China.

In Europe, they have exhibited in Bologna, Rome, and Stockholm; in the USA, they have exhibited in San Francisco, Philadelphia and New York.

The book Cornford & Cross (London: Black Dog Publishing, 2009) includes critical essays by John Roberts and Rachel Withers, and sets out a chronology of their projects as a basis for examining the aesthetic and ethical concerns of their practice.

Research Stat emen t

My research, practice and teaching have long been informed by a critical engagement with the relationship

between visual culture and the contested ideal of ‘sus­tainable’ development. More recently, my focus has been on fossil energy dependency and climate breakdown. I am now shifting towards promoting the transition to a post-carbon society.

is a new collaboration between staff and students across Camberwell, Chelsea and Wimbledon Colleges exploring the potential for art schools to help build resilience to energy scarcity and climate change.

In addition to producing aesthetic experiences, I maintain that a key function of contemporary art is to test concepts, assumptions and boun­ daries. In public debate, I explore the ‘instrumen­ tal’ potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions. In making such pro­ positions, I aim to stimulate the kind of debate that is at the heart of active social agency.

S elected Outpu ts and A chievements

SELECTED SOLO EXHIBITIONS 2010 It Happened Here, The Commandery, Worcester, UK. 2008–09 The Lion and the Unicorn, Wolverhampton Art Gallery, UK. 2007 Cornford & Cross, Aspex Gallery, Portsmouth, UK. 2005–06 Where is the Work?, Northern Gallery for Contemporary Art, Sunderland, UK. 2003 The Lost Horizon, London School of Economics.

2002 Unrealised: Projects 1997–2002, Nylon Gallery, London, UK.

SELECTED GROUP EXHIBITIONS 2008–09 Give Me Shelter, Attingham Park, Shropshire, UK. 2005 Tra Monti, Rome, Italy.

2004 Values, 11th Biennial of Pancevo, Serbia & Montenegro.

2004 Perfectly Placed, South London Gallery, London.

SELECTED PUBLICATIONS 2010 ‘Bonjour Tristesse’, in: Field journal, vol.4, issue 1. www.field-journal.org 2010 Co-author with Professor Matthew Cornford of chapter in: O’Neill, P. (auth.) (ed.), Mick Wilson (ed.), Curating and the Educational Turn: II. 2009 Cornford & Cross, London: Black Dog Publishing.

2009 Endgame. RSA website: www.artsandecology.org.uk/ magazine/features/david-cross--endgame 2004 ‘Inside Outside’, in: Third Text, vol.18, issue 6.

2004 ‘Unrealised: Projects 1997–2002’, in: Miles, M. (ed.), New Practices/New Pedagogies, London & New York: Routledge.

The ecological crisis consists of issues that have been overlooked because ‘nature’ has been pictured as a timeless backdrop to social experience, and ‘the environment’ is only visible when it is quantified and priced. To challenge this paradigm, I advocate an interdisciplinary approach connecting scientific and economic understanding with the creative, critical and selfreflexive ten­dencies of contemporary art.

Work I have undertaken in this field includes a set of lectures and an art – and design – project entitled ‘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, London, I gave a presentation on place and culture in terms of the obliteration of land­scape through industrial con­ sumerism. For ‘Difference Exchange’ at Chelsea, I gave a presen­tation on the subject of water as a universal primary need, and also as a metaphor for moving beyond objects and commodities towards systems and flows. ‘Creative transitions’

David Cross, It Happened Here in Cornford & Cross, formal garden replaced with turf from Ulster, The Commandery, Worcester, England, 20 × 10 m, 2010

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EARLEY Rebecca

EARLEY Rebecca

Reader

Biography

Dr Becky Earley is a Reader in Textiles Environment Design (TED ) at Chelsea and Acting Director of the University’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. Becky’s core approach is based on learning through practice – making textile work in order to realize new ideas that will drive the reflection and resulting theory. Her Top 100 and Worn Again projects perfectly exem­ plify this, and she has made significant contri­ bution to the emerging field of upcycling textiles.

As a lead researcher in both TED and TFRC , Becky’s research is also driven by collaboration and the new Mistra Future Fashion project will continue to develop this way of working, this time bringing the participating designers together with scientists through a Swedish research consortium.

Research Stat emen t

Through individual practice and group research at CCW , TED has developed TED ’s TEN – strategies which intend to help individuals, and small and medium enterprises, make more informed design decisions. These are currently being explored through a broad portfolio of research and consul­ tancy pro­­jects, which ultimately ask the designer to consider several strategies at any one time – using design thinking to achieve a layered and inter­connected approach. The resulting textile and fashion concepts often combine theoretical think­ing with material, technical and social innovations. www.tedresearch.net, www.tfrc.org.uk, www.upcyclingtextiles.net, www.beckyearley.com

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SELECTED CONSULTANCY PROJECTS 2011/12 Co-curator, VF Corp Summit event, USA, tailored TED’s TEN concept and content, with workshops and lectures, TFRC for the Odyssey Network.

2011/12 H&M, presentation and workshop, tailored training programme using TED’s TEN to work with 1000 of their in-house designers.

2010/11 Sustainable Fashion Academy, Stockholm, TED’s TEN presentations, workshops and 1:1 consultancy to SME’s in Sweden.

2010/11 Future Fashion project, Nottingham, presentations, workshops and 1:1 consultancy to SME’s in the region, EU-funded project.

2010 PPR Home, developing the ‘creative sustainability lab’ concept for the PPR group’s new CSR policy, Cambridge.

2010 Gucci Group, developing and delivering a TFRC workshop to brand leaders.

SELECTED CURATORIAL PROJECTS 2011 Co-curator, The Slow Summit, TFRC and Craftspace.

2009 Co-curator and panel Chair, Jerwood Contemporary Makers 2009, London and The Dovecote Studios, Edinburgh.

2006 Well Fashioned: Eco Style in the UK, Crafts Council Gallery.

SELECTED GROUP EXHIBITIONS 2010/11 Trash Fashion: Designing Out Waste, Science Museum, London.

2010/11 reTHINK! Eco Textiles, Audax Textile Museum in Tilburg, Holland.

2010 Eco Fashion, Going Green, MFIT, New York.

2009/11 Taking Time: Craft and the Slow Movement, Craftspace touring, UK. SELECTED PRESENTATIONS AND PUBLICATIONS 2011 Design Activism, Barcelona.

2011 Upcycling Textiles: Adding Value Through Design, Copenhagen.

2011 Upcycling Textiles (symposium transcript), TED, July 2009, in: Hemmings, J. (ed.), The Textile Reader, Berg.

2010 Textiles, Environment, Design (TED): Making Theory Into Textiles Through Sustainable Design Strategies, Pedagogy and Collaboration with Earley, R., Goldsworthy, K. & Vuletich, C. in: Brink, R. & Ullrich, M. (eds), Future Textile Environments, HAW Hamburg University of Applied Sciences.

2010 Keynote, Making Time: Top 100 Project, Slow Textiles conference, Stroud.

Rebecca Earley, Top 100 Project, upcycled polyester shirt, size 10, 2000–10

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104

FAIRNINGTON Mark

FAIRNINGTON Mark

Reader

Biography

Mark Fairnington is a Reader in Painting at Wimbledon College and his prac­ tice explores the lineage of animal and plant painting and its relation to the history of human understanding of the natural world. It focuses on the image of natural history specimens in col­ lections, storage and display. Collaborative research projects with scientists have included Membracidae, funded by the Wellcome Trust.

Fairnington and Dr George McGavin travelled to the Las Cuevas Research Station in Belize to study treehoppers and this insect’s use of mimetic camouflage as a survival mechanism. A major exhibition of Fairnington’s work, Fabulous Beasts, was mounted at the Natural History Museum, London in 2004. Birds We Cannot See, funded by the Calouste Gulbenkian Foundation, involved working with scientists in the NHM Department of Zoology to study and record specimens of Birds of Paradise from the skins collection and in historical and contemporary displays.

Curren t Resear c h

Fairnington’s research is founded on painting as its primary method of research. It examines the idea that the cultural meaning of the images generated by different dis­ ciplines can be determined by narratives that lie outside the field. These are diverse narratives, some of which emerge and are explored during the making of a painting, where description, its attention to detail, gained through studied and intense observation, can become a platform for speculation and storytelling. Two recent series of works are The Bulls and Flora. The Bulls are life-sized paintings of prize-winning stock bulls that open up connections between the history of animal portraiture, the economy of selective livestock breeding and how this determines phy­ sical characteristics of the animals. Flora is a series of paintings that imagine new hybrid

plants, referencing genetic engineering, the history of flower painting and botanical illustration.

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Selected Solo Exhibitions 2011 Flora, Oliver Sears Gallery, Dublin.

2010 Bull Market, Bury St Edmunds Art Gallery, Suffolk.

2009 Private Collection, Galerie Peter Zimmermann, Mannheim.

2008 Galerie Peter Zimmermann, Mannheim.

2007 Dynasty, Art Agents, Hamburg.

SELECTED GROUP EXHIBITIONS 2010 Blood Tears Faith Doubt, Courtauld Gallery, The Courtauld Institute of Art. 2010 Profusion, Calke Abbey, Derbyshire.

2009 The Artist's Studio, Compton Verney, touring to the Sainsbury Centre, Norwich.

2009 A Duck for Mr Darwin, Baltic Centre for Contemporary Art. 2008 War and Medicine, Wellcome Trust, London.

2008 Darwin’s Canopy, Natural History Museum.

2007 Bird Watching, curated by Tanya Rumpff, the Fish Market, Haarlem.

2007 Bloedmoo, The Historic Museum, Rotterdam.

2007 Bloody Beautiful, Gallery Ron Mandos, Rotterdam.

Selected BOOKS and EDITIONS 2009 Flora, text by Adrian Rifkin, Oliver Sears Gallery, Dublin.

2009 The Artist’s Studio, Giles Waterfield, G. (ed.), Hogarth Arts and Compton Verney.

2009 A Duck for Mr Darwin, Evolutionary Thinking and the Struggle to Exist, BALTIC. 2008 Arkive City, University of Ulster, Belfast.

2008 Bloedmooi/ Bloody Beautiful, Historical Museum, Rotterdam.

2006 Experience and Experiment, Calouste Gulbenkian Foundation.

Mark Fairnington, Coucal Cattleya, oil on panel, 70 × 65 cm, 2011

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FAURE WALKER James

FAURE WALKER James

Reader

Biography

James Faure Walker (b. 1948 London) studied at St Martins (1966–70) and the RCA (1970–72). He co-founded Artscribe magazine in 1976, and edited it for eight years.

He has been integrating computer graphics in his painting since 1988. Recent group exhibitions include Jerwood Drawing Prize (2010); Digital Pioneers at the V&A (2009); Imaging by Numbers, Block Museum, Illinois, USA (2008); Siggraph, USA (eight times 1995–2007); DAM Gallery, Berlin (2003, 2005, 2009). In 1998, he won the ‘Golden Plotter’ at Computerkunst, Gladbeck, Germany.

In 2010, he produced a com­missioned print for the 2010 South African World Cup. His book, Painting the Digital River: How an Artist Learned to Love the Computer (2006, Prentice Hall, USA ), won a New England Book Show Award. He is Reader in Painting and the Computer in the CCW Grad­uate School.

Research Stat emen t

The how-to-draw books from the first decades of the twentieth century offer a view of drawing somewhat at odds with the way we think about drawing today. There was more dependence on drawing from memory, and more commercial illustration. The technical tips and preferred examples resemble the DIY approach of today’s paint software. ‘Digital drawing’ is not a tidy category. The weird pens and drastic modifiers have turned old habits upside down, and drawing and painting are not as dis­tinct as they were.

I have collected around a hundred such publica­ tions, and plan to write a book around them.

There are spin-offs too, and these get into my painting, such as how students were taught ‘observational skills’. A 1931 British Army ‘Small Arms Training’ manual provides diagrams for constructing targets for shooting ranges and

bayonet practice. The ‘figure’ – or its ‘traces’ – may be a subject for drawing conferences today, but here the figure – lying down, moving across, approaching – is a target, and a compelling motif.

Accurate ‘seeing’ is a matter of life and death.

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Selected Essays on drawing 2011 ‘Drawing Trees’, invited paper for Drawing Connections – China Risk and Revolution, October 26–28, Lu Xun Academy of Art, Dalian, China; International Drawing Research Institute College of Fine Art, UNSW, Australia.

2011 (September) ‘Painting further along the River’, invited paper at ISEA Istanbul.

2011 (February) ‘The Past and Present of the Digital Manual’, paper at the Recto/Verso: Redefining the Sketchbook conference, University of Lincoln.

2011 ‘Getting Closer to Nature: Artists in the Lab’, in: Biologically-inspired Computing for the Arts: Scientific Data through Graphics, IGI Global, USA. 2011 (June) ‘On Not Being Able to Draw a Mousetrap’, in: Journal of Creative Interfaces & Computer Graphics. http://bit.ly/MTXDk www.igi-global.com/IJCICG 2010 (December) ‘Drawing Machines, Bathing Machines, Motorbikes, the Stars…Where are the Masterpieces?’, in: Tracey, Drawing and Technology. www.lboro.ac.uk/ departments/sota/tracey/dat/images/faure-walker.pdf Selected group Exhibitions 2011 (November) Drawing: Interpretation/Translation, Hui Gallery, Hong Kong, March 2011; The Drawing Gallery, Walford, Shropshire, May 2011; Wimbledon Space.

2010–11 (Sep 2010 – Jun 2011) Jerwood Drawing Prize, Jerwood Space, London and touring.

2010 (July/August) Hot Plate, print exhibition, Phoenix Gallery, Brighton.

James Faure Walker, The Floor Fell In, archival inkjet print, 61 × 64 cm, 2011

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FORTNUM Rebecca

FORTNUM Rebecca

Reader

Biography

Rebecca Fortnum is a Reader in Fine Art. She has been a Visiting Fellow at Plymouth and Southampton Universities, 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 Wimble­ don College of Art. Awards include the PollockKrasner Foundation, the British Council, the Arts Council of England, the British School in Rome and the AHRC . She has had solo shows at the Col­ lective Gallery, Edinburgh; Spacex Gallery, Exeter; Kapil Jariwala Gallery, London; Angel Row Gal­ lery, Nottingham; The Drawing Gallery, London; Gallery 33, Berlin; and The Museum of Childhood, London. She was instrumental in founding the artist-run spaces, Cubitt Gallery and Gasworks Gallery and, in 2009, participated in Method, a cul­tural leadership programme for artists. She is currently an external examiner at Lasalle Universi­ ty of the Arts in Singapore and Reading University.

Research Stat emen t My research falls into three areas; documenting artists’ processes; a visual art practice; fine art pedagogic research.

My research into visual artists’ making processes stems from my project, ‘Visual Intelligences’ at the Lancaster Institute for Contemporary Arts where I was Research Fellow from 2004–09 (www.visualintelligences.com). Subsequently, I was appointed as international lead artist for Trade in Ireland and more recently I have begun to write on the role of ‘not knowing’ within the creative process. I have a long-held interest in women art­ ists, publishing a book, Contemporary British Women Artists in 2007 and interviewing artists for BBC Radio 4’s Women’s Hour.

My visual art practice includes painting, drawing, printmaking and curating. Curatorial projects

include Fluent, Painting & Words, Unframed and The Imagination of Children. In 2008, I was selected for the Space for 10 programme (www.spacefor10. org.uk). This year, 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 (http://associatie. kuleuven.be/fak/nieuwsbrief/2011/36/281) and held a solo exhibition at the Victoria and Albert Museum’s Museum of Childhood. I co-convene Paint Club, an open research network hosting events such as an ‘in conversation’ between Mario Rossi and Michael Borremans.

I have undertaken pedagogical research, including working on UAL ’s project ‘The Teach­ ing Land­scape in Creative Subjects’ (www.arts. ac.uk/clipcetl-landscapes.htm). In 2009, I completed a University Teaching Fellowship, examining the feedback written in assessment reports. I have 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 at Chelsea, CLTAD conference, Berlin and the GLAD conference at York St John.

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2011 Absurd Impositions, solo exhibition, V&A’s Museum of Childhood, London.

2011 In – and Outside – Writing, exhibition, Voorkamer, Lier, Belgium.

2009 Editor, Paula Kane: Studio Wall, ICFAR & RGAP. 2009 Curator, 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.

2007 Co-editor, Journal of Visual Art Practice, Edition 6.3, on the documentation of artists’ processes.

2007 Contemporary British Women Artists, NY & London: I.B. Tauris.

In a Flushed Sky, from In – and Outside – Writing exhibition at Voorkamer, lier pencil, oil and wax on paper, letterpress on paper, installation shot, 2011. Photo: Glenn Geerinck

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KIKUCHI Yuko

KIKUCHI Yuko

Reader

Biography

Dr Yuko Kikuchi was born in Tokyo and educated in Japan, the USA and UK .

After completing a BA in English and American Litera­ture and an MA in American Studies, she worked at the School of East Asian Studies, Uni­versity of Sheffield as a Modern Japanese Studies specialist. She joined University of the Arts London in 1994 to complete a PhD on the Mingei movement and is currently teaching MA courses, supervising research students and conducting research as a core member of TrAIN (Transnational Art Identity and Nation) in her capacity as a specialist in design histories and design studies.

Research Stat emen t

My research is on mod­ ernities in art and design in East Asia, with particular interest in how phenomena informed by local specificities could engage with academia in Euroamerica. My key publications have been on the Japanese and transnational Mingei movement (Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, 2004), and on modernities in colonial Taiwan (Refracted Modernity: Visual Cul­ ture and Identity in Colonial Taiwan, 2007). The latter developed through the international design history project, ‘“Oriental” Modernity: Modern Design Development in East Asia, 1920–90’, which investigated the regional and inter-regional development of modern design in Japan, Korea, and China/Taiwan/Hong Kong. As an editorial board member of the Journal of Design History, I am passionate about creating a transnational frame­work for design histories and studies.

Recently, I have expanded my scope to SouthEast Asia (Vietnam, Cambodia and Thailand) through my investigation into American design inter­vention in Asia during the Cold War period, looking particularly at the case of Russel

Wright. This research examines the continuity from the European colonial construc­tion of ‘vernacular/national’ handicrafts in the pre-WWII period, to the post-war American intervention which eventually developed into the contempo­ rary subjectivity of the locals.

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2011 ‘Visualising Oriental Crafts: Contested Notion of “Japaneseness” and the Crafts of the Japanese Empire’, in: Inaga, S. (ed.), Question of Oriental Aesthetics and Thinking, Kyoto: The International Research Center for Japanese Studies.

2011 ‘American Consumption of Japanese Design and Development of “Japanese Modern” during the Occupation and Cold War’, in: Omuka, T. (ed.), Studies on Audience and Reception of Art in Japan, Tokyo: The Japanese Ministry of Education, Science, Sports, Science & Technology KAKEN. 2010 ‘The Question of “Japaneseness” and the Creation of the “Greater Oriental Design” for Crafts of the Japanese Empire’, in: Archív Orientální (‘Oriental Archive’), special issue of Literature, History and Culture of Taiwan: Past and Present.

2008 ‘Russel Wright and Japan: Bridging Japonisme and Good Design through Craft Design’, in: Journal of Modern Craft.

Silverware made in Kompong Luong, Cambodia

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NEWMAN Hayley

NEWMAN Hayley

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Reader

Biography

Dr Hayley Newman is a Reader at Chelsea. She studied at Middlesex University, The Slade School of Art, Hochschule für Bildende Künste, Hamburg and University of Leeds, where she completed her PhD in 2001. In 2004/05, she was the recipient of the Helen Chadwick Arts Council of England Fellowship at the British School at Rome and the Ruskin School of Drawing and Fine Art, Oxford. She has had solo shows at Matt’s Gallery, London, The Ikon Gallery, Birming­ ham, Centre d’Art Contemporain, Geneva and The Longside Gallery at the Yorkshire Sculpture Park; and has performed at Camden Arts Centre, South London Gallery, Barbican Art Gallery and The Hayward Gallery. She lives and works in London and is represented by Matt’s Gallery. www.hayleynewman.com

Research Stat emen t

I am interested in performance and performativity, documentary practices, humour, subjectivity and fiction.

Over the past few years, I have worked both indi­ vidually and collectively and have learnt as much about how collectives function as I have about how I function as an individual. I’m committed to working creatively around the cur­ rent economic, social and ecological crises, from cuts to funding to the environment and irre­ sponsible behaviours of giant corporations which are changing the social fabric of our lives.

Alongside supervising PhD students, I am currently involved in the CCW Graduate School initiative Creative Transition, a mix of CCW Graduate School staff and students who have recently started a passionate conversation about sustainability and resilience in art and de­ sign education. Building on the democratic model of the Transition Town movement and its solutions to climate change and peak oil,

Creative Transition hopes to lead on developing alternative creative responses to the Transition Town movement.

Recent work has included Milton Keynes Vertical Horizontal (MKVH, 2006), a public event in which volunteers were driven around the Milton Keynes road grid until their coach ran out of diesel. MKVH (the screenplay), published in 2008, was based on this journey. The book built on ideas around intersubjectivity, memory and narra­ tive, commenting 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 inaugurated the self-help group Capitalists Anonymous (CA ), a forum for people to come and confess their capitalist tendencies.

Originally set up for bankers in the wake of the eco­nomic crash, CA was seen as a therapeutic intervention that took place on the steps of the Royal Exchange in the City of London. Finally, the all-female col­lective The Gluts (Gina Birch, Kaffe Matthews and Hayley Newman) formed in 2009, when we per­formed our repertoire of songs entitled Café Carbon at the Copenhagen Climate Summit. Eighteen songs about food and climate: cheap chicken, food transportation, over-consumption, water, allot­ments, mecha­ nization and the beginning of modernity were all on the menu at Café Carbon.

Gina Birch, Kaffe Matthews and Hayley Newman (aka The Gluts) perform Café Carbon on their way to the Copenhagen Climate Summit, 2009. Photo: Frederika Whitehead

S elected Outpu ts and A chievements

2010 The Sculpture Years, performance, at the conference: Sculpture and Performance, The Henry Moore Institute, Leeds & Tate Liverpool.

2010 Super Farmers’ Market, Handel Street Projects, London.

2009–10 Emporte-moi (‘Sweep Me Off My Feet’), Musée National des Beaux-Arts du Québec, Canada; MAC/VAL, Paris.

2009 C.R.A.S.H culture, Two Degrees, Arts Admin, London.

With The Gluts 2010 The Gluts Go to Copenhagen, documentary video (work in progress) screened at AV10 Festival, Newcastle; Camden Arts Centre, London; Sexuate Subjects: Politics, Poetics and Ethics (conference), UCL, London.

2010 Spiral Artists’ Residency, Camden Arts Centre, London.

2010 Café Carbon live performances at The Whitechapel Art Gallery, London; Camden Arts Centre, London; Museum of Modern Art, Oxford; Café Oto, London; and AV10, Newcastle.

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PAVELKA Michael

PAVELKA Michael

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Reader

Biography

Michael Pavelka is a Reader at Wimbledon. His theatre design work includes two productions with Lindsay Anderson: The Fishing Trip and Holiday, (Old Vic); with Edward Hall/Propeller Company: Henry V, The Winter’s Tale (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), The Taming of the Shrew at the Old Vic, Royal Shakespeare Company (RSC ) and touring internationally. This year, he is working on The 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 Mid­ summer 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 the National Theatre, Edmond starring, Kenneth Branagh.

Resea rch Stat emen 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 pro­ ductions of Shakespeare’s most challenging and layered works are explored in the context of all-male casting.

The scenography supports performance that is characterized by its intensely physical approach, speed and clarity. Cross-gender casting pre­sents opportunities to investigate the language of cloth­ ing and movement that are approached in differ­ ent 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 pub­ lication of ‘pocket’ versions of the texts for educational outreach. Recognition of this work is reflected by recently extended funding for three years from the Arts Council of England and other support from the Department of Education.

A second strand of recent work with collaborator Liam Steel involves the exploration of themes

through devised visual storytelling with performers who bridge dance, acting and other disciplines, such as circus and ‘parcours’. The sceno­graphy integrates ambitious engineering with multimedia imagery and attempts to give performers the means to use the entire vol­ ume of theatrical space, often suspended.

The two strands of research connect when pro­ ductions 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.

S elected Outpu ts and A chievements

SELECTED PERFORMANCES 2011 The Go Between, a chamber musical/opera adaptation, West Yorkshire Playhouse; other UK venues, world premiere.

2010–11 Richard III and The Comedy of Errors, Propeller Theatre company, world tour.

2009–10 The Dark Side of Buffoon, Coventry Belgrade B2; Lyric Hammersmith.

2009 The Good Soul of Szechuan, Library Theatre Company, Manchester.

2008–09 The Merchant of Venice and A Midsummer Night’s Dream, Propeller Theatre company, world tour.

2008–09 Great Expectations, Library Theatre Company, Manchester.

2008 Absurd Person Singular, Wyndhams Theatre, London West End. 2006 The Taming of the Shrew, Propeller/RSC co-production.

2005 Oliver Twist, Roger Haines & Liam Steel (DV8) dirs., Library Theatre, Manchester.

2005 The Winter’s Tale, Edward Hall (dir.), Propeller Theatre Company, Watermill.

2005 A Few Good Men, David Esbjornson (dir.), starring Rob Lowe, West End’s Theatre Royal, Haymarket.

2003 Edmond, Edward Hall (dir.), starring Kenneth Branagh, Olivier stage, National Theatre.

2003 Rose Rage (New Production), Edward Hall (dir.), Chicago Shakespeare Theatre; The Duke Theatre, 42nd Street, New York.

Michael Pavelka, Off the Wall, Site-specific performance and Designer's cut edited video record, 1997

2002 The Constant Wife, Edward Hall (dir.), West End Apollo, Lyric Theatres.

2002 Rose Rage, Henry VI trilogy in two parts, Edward Hall (dir.), Propeller Theatre Company.

2002 UK Tour: West End Theatre; Royal Haymarket; Italy; Turkey; Poland.

2002 Macbeth, Edward Hall (dir.), Ambassadors Theatre Group, West End Albery Theatre.

2002 A Midsummer Night’s Dream, Edward Hall (dir.), Propeller Theatre Company, UK; international tour including: Barbados, Germany, Italy, BAM New York.

SELECTED EXHIBITIONS 2011 Video edit of the process of designing and producing Off the Wall, South Bank, representing the UK at the Prague Quadrennial.

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 1997 Production photograph and a diary entry in Mother Courage and Her Children, Thomson, P. (ed.), Cambridge Publications.

SELECTED AWARDS 2009 Winner of Theatrical Management Association Best Design 2009 award for The Merchant of Venice.

2004 Nominated Best Costume Design, Jeff Awards, Chicago, USA for Rose Rage.

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.

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QUINN Malcolm

QUINN Malcolm

Reader

Biography

Dr Malcolm Quinn is Reader in Cri­ tical Practice in CCW Graduate School. He is Course Director for CCW MRes Arts Practice, and is an experienced PhD supervisor. He has written extensively on art and design research, using a psychoanalytic approach to the analysis of art and design language and pedagogy. He is a contributor to The Routledge Companion to Research in the Arts (2010), and is a member of the AHRC peer review college. Since the publication of his first book The Swastika: Constructing the Symbol (Routledge, 1994) he has been interested in how ‘government aesthetics’ interface with individual identity and subjectivity.

Curren t Resear c h

My current research focuses on identity, taste and governance in the thought of Jeremy Bentham and Adam Smith, with particular reference to the development of government-funded art education in early nine­ teenth-century Britain. This research addresses three questions: > The first question is historical: how did the utili­ tarian idea of the art school emerge in contrast to the academy of art in Britain in the 1830s, and what were its effects? > The second question is philosophical and cultural: what were the necessary and sufficient conditions set by Adam Smith and Jeremy Bentham’s moral and political economies of taste, which allowed the idea of the art school and the critique of art academies to be developed? > The third question is political: did Jeremy Bentham’s radical ideas on identity, cultural dif­ ference, taste and governance offer a viable framework for the pursuit of cultural policy objectives; and how do utilitarian ideas affect current approaches to utilitarian thinking in public pedagogy and cultural policy?

S ele c t ed Out pu t s and Ach ievement s

Selected Chapters in Books 2010 ‘Insight and Rigor: A Freudo-Lacanian Approach’, in: Biggs, M. & Karlsson, H. (eds), The Routledge Companion to Research in the Arts, London: Routledge.

Selected Essays in Books 2011 ‘Chigurh’s Haircut: Three Dialogues on Provocation’, in: Transmission Annual: Provocation, London: Artwords Press.

2011 ‘What is the Alternative?’, in: Cummings, N. & Critical Practice (eds), Parade, Public Modes of Assembly and Forms of Address, London: CCW Graduate School.

2010 ‘Lapdogs of the Bourgeoisie’, in: Haq, N. & Zolgadhr T. (eds), Lapdogs of the Bourgeoisie, Bristol: Arnolfini Gallery.

Selected Peer-reviewed journal articles 2011 ‘The Invention of Facts: Bentham’s Ethics and the Education of Public Taste’, in: Revue D’études Benthamiennes 9.

2011 ‘The Disambiguation of the Royal Academy of Arts’, in: History of European Ideas.

2011 ‘The Political Economic Necessity of the Art School 1835–52’, in: The International Journal of Art and Design Education.

Selected Lectures 2011 ‘Reading Reynolds With Bentham: The Idea of the Art School in Nineteenth-Century Britain’, Bentham Project, University College London.

2010 ‘The Education of the Eyes of the People By Our Own Government: Public Pedagogy and the Art School 1835–52’, UAL Pedagogic Research Network CSM Innovation Centre.

Selected Conferences 2010 Paper, ‘Art Schools and “The Pedagogical Impulse”: an Historical Perspective’ at IJADE conference ‘Art and Design Education and Contemporary Culture’.

2010 Organized ‘The Idea of the Art School in Early Nine­ teenth-Century Britain’, with Professor Sir Christopher Frayling, Dr Martin Myrone, Professor Philip Schofield, Professor Richard Whatmore at Tate Britain.

Dr Malcolm Quinn, ‘Insight and Rigor: a Freudo-Lacanian Approach’, in: Biggs, M. & Karlsson, H. (eds), The Routledge Companion to Research in the Arts, London: Routledge (2010).

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118

TULLOCH Carol

Tulloch Carol

Reader

Biography

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 the TrAIN/V&A Fellow in the Research Department of the V&A. She was principal investigator of the Dress and the African Diaspora Net­work (2006–07).

Carol has written about and curated exhibitions on dress and black identities, style narratives – the telling of self – cross-cultural and transna­ tional relations and cultural heritage. Addi­ tionally, her research has reviewed historical ‘truths’ to present alternative perspectives on the black body, dress and place. Currently, Carol’s practice has developed to consider how individuals negotiate their sense of self within diverse contexts – locally, nationally or internationally. Her work now includes 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. 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 Narra­tives (2007); Resounding Power of the Afro Comb (2008); and the exhibitions 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 (2004–05), and A Riot of Our Own (2008).

The monograph The Birth of Cool: Style Narratives of the African Diaspora; the exhibition A Riot of Our Own, Galerija Makina, Pula, Croatia; ‘Kicking Back: Style Connections through Activism’ in Critical Perspectives on DoubleConsciousness within Modern and Contemporary Art, Michael Asbury and Paul Goodwin (eds); the symposium Dress as Autobiography to be held at the V&A.

C u r r ent Resea rch

S elec t ed Out pu t s and Ach ievement s

selected exhibitions 2010 A Riot of Our Own, Vibe Bar, London (feature exhibition of the East End Film Festival).

2010–11 Handmade Tales: Women and Domestic Crafts, Women’s Library, London.

Selected publications 2010 ‘Buffalo: Style with Intent’, in: Pavitt, J. & Adamson G. (eds), Postmodernism: Style and Subversion 1970–90.

2010 ‘Dress and the African Diaspora’, in: special issue of Fashion Theory: The Journal of Dress, the body and Culture.

2009 ‘Familial Dress Relations and the West Indian Front Room’, in: McMillan, M., The Front Room: Migrant Aesthetics in the Home.

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

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RESEARCH CENTRES and Networks Running headlines

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TRAIN

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LIGATUS

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CENTRE FOR DRAWING

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TrAIN

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TrAIN

DIRECTOR: PROFESSOR TOSHIO WATANABE DEPUTY DIRECTORS: PROFESSOR ORIANA BADDELEY AND PROFESSOR DEBORAH CHERRY (CSM)

The University of the Arts London research centre for Transnational Art, Identity and Nation (TrAIN) is a forum for historical, theoretical and practice-based research in architecture, art, communication, craft and design.

In an increasingly complex period of globali­ zation, established certainties about the nature of culture, tradition and authenticity are being constantly questioned. The movement of peoples and artefacts is breaking down and producing new identities outside and beyond those of the nation state. It is no longer easy to define the nature of the local and the international, and many cultural interactions now operate on the level of the transnational. Focusing on how the movement of both people and artefacts breaks down borders and produces new identities beyond those of the nation state, the centre aims to contribute to both creativity and cultural understanding.

TrAIN is a dynamic research forum for inter­ nationally recognized scholars and practitioners, inside and outside the University of the Arts London. TrAIN offers research excellence and leadership through its coherent programme of events and projects, and brings together research in transnational issues in art and design, both globally and locally. Central to the centre’s activities is a consideration of the impact of identity and nation on the production and con­ sumption of artworks and artefacts in this new global context. Transnational relationships are explored through crossings that traverse different media, including fine art, design, craft, curation, performance and popular art forms.

The centre involves internationally recognized scholars and practitioners at several of the 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 practice-based research degrees at both MA and PhD level.

Members contribute to TrAIN’s activities by completing group and individual research projects and through the supervision of relevant postgraduate study. Issues and debates arising from research activities are disseminated by TrAIN conferences, exhibitions and pub­lications.

Throughout the academic year, TrAIN organizes public events such as the TrAIN Open Lectures at Chelsea College of Art and Design and TrAIN Conversations at Central Saint Martins at which artists, theorists and curators present their work and ideas. For more details about the centre’s activities, core members and visiting scholars, please go to its website; www.transnational.org.uk.

Key partnerships include the TrAIN/Gasworks Artists’ Residency, an international residency which raises specific questions for individual artists, and wider issues regarding how both local and international contexts are negotiated in practice; the TrAIN-KSB Residency Exchange in which TrAIN and the Kunstlerhaus Schloss Balmoral collaborate on an Artist in Residence exchange programme. In Autumn 2011, TrAIN will host the second in a series of Fulbright Visiting Distinguished Chairs in partnership with the Tate Gallery.

Antonio Manuel, Ocupações / Descobrimentos (‘Occupations / Discoveries’), installation view, Museum of Contemporary Art Niterói, 1998.

Photo: V. de Mello

Current TrAIN research projects include; Meeting Margins, Transnational Art in Latin America and Europe, 1950–78 (in collaboration with the Uni­ versity of Essex, AHRC funded). Previous TrAIN projects include Forgotten Japonisme, the Taste for Japanese Art in Britain and the USA, 1920s–1950s (AHRC funded); 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.

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LIGATUS

Ligatus

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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:

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 visual arts is remarkable and yet consistently underrepresented in the literature. His philosophical ideas on Events and Event Structures and ‘Flat Saint Catherine’s Monastery Library Time Theory’, a unifying overview of the world, Project, Mount Sinai, Egypt The monastery of St Catherine in the Sinai, Egypt, are fascinating, complex and worthy of serious study. By focusing on such an original, highly is the oldest active Christian monastery in the world. The monastery’s library holds a unique theoretical artist, the John Latham Archive project argues for the need for creative solutions collection of Byzantine manuscripts. Ligatus has undertaken the task of assessing the condition to the methodological and technical challenges posed by artists’ archives. These solutions of the manuscripts, is designing a new conser­ are being tested against, and adapted to, other vation workshop and is advising on further con­ private and institutional archives. Funded by the servation work. Funded by the St Catherine Foun­ dation with additional support from the Headley Trust. AHRC and the Henry Moore Foundation.

Bookbinding Glossary

Creative Archiving

A project to create a detailed bookbinding glossary which can be edited online by experts located in different countries. The glossary will also serve as the basis for an online descrip­ tive process to record bookbindings. It will first appear in English and Greek. Funded by the Arts and Humanities Research Council (AHRC).

The archivist is the keeper of historical truth. Objectivity in archival practice is a muchdebated issue in the profession. Postmodern thinking on archives led archivists to accept the inevitability of their subjectivity as a disadvan­ tage, ignoring the expertise of the archivist on the archived material which is often unique. Creative Archiving celebrates the role of the archivist in history and introduces a methodology for turning subjectivity into an advantage, through the clear interpretation of archives.

Digital archive of bookbinding

30 000 slides of the bound manuscripts in the St Catherine’s Monastery Library, taken as part of the survey, have already been digitized with funding from the Headley Trust and are now joined by a large collection of digital images of the bindings on the early printed books. Ligatus will also be the repository of an additional, unrivalled collection of materials relating to the history of bookbinding donated by key scholars who

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 monas­ tic. 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 cata­ loguing, as well as to make appropriate decisions regarding conservation treatments, housing and access. Descriptions of bindings are also important for digitization projects, as they dramatically enrich the potential of image and text metadata.

This is particularly important for collections of manuscripts and early printed books.

Ligatus areas of PhD research

> The interface of 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

A leaf from a twelfth-century manuscript used as the limp, laced-case cover of a sixteenth-century German edition

Partners and cooperators

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

The uncut tail-edge of the bookblock of a late seventeenthcentury German edition, bound in boards with an alum-tawed quarter spine with paper-covered boards

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Centre for Drawing

A network designed to encourage; creative thinking and cross-disciplinary discovery that is focused on the scholarly and imaginative exploration of the boundaries of drawing.

The Centre for Drawing is based at CCW , led by Professor Stephen Farthing, the Rootstein Hopkins Research Professor of Drawing, Univer­ sity of the Arts London and a curatorial group of research active artists with a special interest in drawing from across CCW Graduate School and University.

The centre was originally founded in 2000 at Wimbledon College of Art, it then became a Uni­ versity of the Arts London research centre in 2008. By 2011 the centre had developed a secon­ dary school curriculum and award in drawing, launched of a cross-disciplinary MA in drawing and built a focused network of members who regularly met to develop projects. By Spring 2011 the core membership realized it had achieved many of its founding goals and decided that the development of a specialist international knowledge sharing forum should be its priority.

In September 2011, with the development of a specialist international knowledge sharing forum in mind, a Blog was designed to service communication between network members and as a means of advertising and supporting the focused events organised each year.

On 3 November 2011, 2–4pm a Symposium will be held to coincide with an exhibition of con­ temporary drawing organized by CCW Professors Paul Coldwell and Stephen Farthing. The exhibition Interpretation/Translation will take place from 4 November – 9 December 2011 at Wimbledon College of Art Gallery.

Centre for Drawing

The 28–30 March 2012 will see the Conference Drawing Out 2012, the second in a series of creative collaborations organized by RMIT University, Melbourne, Australia and University of the Arts London. Both collaborations centre on the exploration of trans-disciplinary approaches to drawing. The first day of the Conference will be held at The National Gallery, Trafalgar Square, London with speakers from RMIT , University of the Arts London and Carnegie Mellon University (Pittsburg, United States). The following two days will take place on University of the Arts London sites where the Conference will explore ways in which drawing functions as a part of literacy with particular reference to: drawing and notation; drawing as writing; drawing, recording and discovery.

For more information: http://thecentrefordrawing. myblog.arts.ac.uk

Stephen Farthing, Drawing Out 2012, part of The Centre for Drawing, crayon on paper, 2011

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BRIGHT PUBLICATION SERIES

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BRIGHT 1: CCW GRADUATE SCHOOL LAUNCH DIRECTORY 2009

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BRIGHT 2: PARADE

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BRIGHT 3: THE CURRENCY OF ART

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BRIGHT 4: GRADUATE SCHOOL DIRECTORY 2010/11

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BRIGHT 5: RELAY

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Bright 1: CCW Graduate School Launch Directory 2009

… The effective academic and structural alliance between Camberwell, Chelsea and Wimbledon col­ leges (CCW), has created an opportunity for a number of 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 is our first major initiative and reflects an academic vision that is predicated on profiling and cele­ brating the conditions and ethos that characterize these three specialist art colleges. The rationale of the Graduate School is founded upon the repu­tations and strong traditions in all three colleges for a wellestablished, high quality, postgraduate provision and mature research cultures that are equally comfortable and experienced in support­ing practice-led and theoretical-based research in art and design areas.

What the Graduate School brings to the current postgraduate and research provision is a set of challenges and questions that address the relationship of research to the broader academic and cultural communities, and an assertion that consideration is given to a broader thematic context that reflects issues of our time that in turn influences our practices.

There are two key aspects of the Graduate School that define its distinctiveness: the first is a commitment to create and maintain a direct relation­ship between research-focused activity and teaching, and a require­ ment 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 crossdisciplinary exchange and collaboration, and as a means of responding to broader social and cultural agendas that transcend subject-specific concerns. In this respect for the coming year, we have identified the three areas of Climate Change, Identities and Tech­ nologies as themes that will be explored in our Graduate School Festival and at other points during

the year when we will be bringing together our research communities and external partners in focused projects and events. …

Excerpt from the ‘Welcome Note’

by Prof. Chris Wainwright, Head of Colleges Bright 1: CCW Graduate School Launch Directory 2009 Editor: Chris Wainwright Assistant Editor: Kate Sedwell Editorial team: Prof. Oriana Baddeley, Linda Drew, Kate Sedwell Specifications: 272 pages, softback, 4 colours throughout ISBN: 978-9-9558628-1-6 Publication available online from: http://www.chelsea.arts.ac.uk/ccwgraduateschool/ archivesandresources/brightpublications

Bright 2: Parade

Critical Practice (CP ) is a cluster of artists, researchers, academics and others supported by the CCW Gradu­ ate School.

Initiated in 2005, CP explores new models of creative practice and seeks to engage these models in appropriate public forums, both nationally and internationally. We have participated in exhibitions and seminars, conferences, film, concert and other event programmes. We have worked with archives and collections, publication, broadcast and other distri­ butive media, while actively seeking to collaborate.

CP has a long standing interest in art, and public goods, spaces, services and knowledge, and has generated a track record of producing original, parti­ cipatory events.

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

We created a bespoke, temporary structure designed by award-winning Polish architects Ola Wasilkowska and Michał Piasecki, within which we produced a landmark event in an amazing location with a host of international contributors.

PARADE challenged the lazy, institutionalized model of knowledge transfer whereby amplified ‘experts’ speak at a passive audience. Our modes of assembly, our forms of address and the knowledge we shared were intimately bound.

This is a document of the evolution of PARADE , and part of its legacy.

Introduction by Critical Practice

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Bright 2: PARADE – Public Modes of Assembly and Forms of Address Editor: Neil Cummings and Critical Practice Specifications: 176 pages, softback, sections of 2 and 4 colours ISBN: 978-0-9558628-3-0 Publication available online from: http://www.chelsea.arts.ac.uk/ccwgraduateschool/ archivesandresources/brightpublications

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Bright 3: The currency of Art

… The most recent stage in this ongoing collaboration [between CCW and ING ] focuses on The Baring Archive. For this phase, research staff from CCW ’s Graduate School have been joined by invited coll­ eagues; the artist, Professor Lubaina Himid (Univer­ sity of Central Lancashire), and the art historian, Dr Geoff Quilley (University of Sussex). The group’s investigations have led to illuminating juxtapositions between newly created works and the original collection, shown in May 2010 at ING in an exhibition entitled re:SEARCHING: Playing in the Archive.

They have also drawn attention to the construction of the archive itself, raising questions about the under­ lying choices of what has been considered important to preserve and the methods used in conserving it. By uncovering hidden narratives embedded in the arte­ facts, new avenues of interpretation have opened up, directly relating to the activities of Barings over its long and fascinating history. The notion of ‘playing’ in the archive, and the desire to make historical evidence physically present, were important to all the researchers engaged in the project and involved quite different methodologies to those employed by most financial and social historians. The Currency of Art celebrates the current phase of the collaboration and looks towards its potential developments. It should be seen as a catalyst to provoke debate across the arts, curatorial practice, finance and banking about the values underpinning these relationships as they were formed in the past, and as an invitation to speculate about their possible shape in the future. …

Excerpt from the Introduction

by Prof. Eileen Hogan

Bright 3: The Currency of Art Editorial team: Prof. Orianna Baddeley, Prof. Jane Collins, Prof. Stephen Farthing, Becky Green, Prof. Eileen Hogan Specifications: 80 pages, softback (Swiss brochure), 4 colours throughout ISBN: 978-0-9558628-5-4 Publication available online from: http://www.chelsea.arts.ac.uk/ccwgraduateschool/ archivesandresources/brightpublications

Bright 4: Graduate School Directory 2010/11 … Our research activities are well-established, diverse, specialist and 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 inter­ rogated through a focused research approach of con­ temporary relevance that leads to tangible outcomes and impact.

The Graduate School programme hosted by CCW , along with the activities of research centres and networks, 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 propo­ sals 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 the need to address them through innovative and creative responses. …

Excerpt from ‘Research at Camberwell, Chelsea and Wimbledon’ by Prof. Oriana Baddeley

Bright 4: Graduate School Directory 2010/11 Editorial team: Chris Wainwright Assistant Editor: Becky Green Editorial team: Prof. Oriana Baddeley, Becky Green Specifications: 136 pages, softback, 4 colours throughout ISBN: 978-1-906203-43-6 Publication available online from: http://www.chelsea.arts.ac.uk/ccwgraduateschool/ archivesandresources/brightpublications

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Bright 5: Relay

… Working with Masters students from three courses (MA Art Theory, MA Curating and MRes Arts Practice), we set up a series of relay teams, with each instructed to pass on a message – an image, an object, a citation, a viewpoint – between team members, oneto-one-to-one. Each team focused on one of four themes chosen by the group as a whole: Identity Forma­tion; Spaces and Spectators; Art and Society; Recreating Histories. The themes engaged with current preoccu­ pations in contemporary critical practice in the visual arts. Identity Formation relates to questions of subjecti­fication, which have held centre stage courtesy of the French post-structuralist schools – those of Foucault and Derrida, in particular, as well as of their German predecessors, Nietzsche and Schopenhauer.

Our relay team returns us to this lineage, releasing the potential of the image as both catalyst and inter­ ruption. In Spaces and Spectators, the message gets spectacular­ized. The move is less along the trajectory of Baudrillard and Virilio, with their emphasis on the technology of the screen. Rather, with their attention Excerpt from ‘Don’t Shoot the Messenger: to the materi­ality of paper, the action of turning pages An Introduction to Relay ’ and the spatiality of folds, Spaces and Spectators

by Dr David Dibosa brings us back to the scene of reading and the techno­ Bright 5: Relay – Circulating Ideas, March–May 2011 logy of the book. Art and Society opens the text out Editor in Chief: Prof. Chris Wainwright into the specificities of our contemporary geopolitical Editorial team: Dr Eleanor Bowen, Dr David Dibosa, context. West Asia, North Africa, Southern Europe and Becky Green, Bruno Ceschel, Dr Isobel Whitelegg Specifications: 96 pages, softback (exposed binding), the global natural environment become the centre for 4 colours throughout an email relay that demonstrates the way that intelli­ ISBN: 978-0-9558628-6-1 gence-gathering is based on the topography of messages Publication available online from: sent. Art and Society reminds us that the question of http://www.chelsea.arts.ac.uk/ccwgraduateschool/ ‘who is sending messages to whom?’ remains the basis archivesandresources/brightpublications of intelligence-gathering. It provides us with the space to adjust our perspectives based on the information that we receive. Recreat­ing Histories brings us back to the letter – the text of history and the words of memoriali­zation. The way that place and memory sit alongside one another brings the series of relayed messages to an end. …

CCW Graduate School | Directory 2011/12 Editor: Chris Wainwright Assistant editor: Becky Green Editorial team: Prof. Oriana Baddeley, Becky Green Thanks to Laura Lanceley Copy editor: Colette Meacher Design: Atelier Dreibholz, Paulus M. Dreibholz and Sunny Park Printing: Holzhausen Druck GmbH, Austria Published by: CCW Graduate School, 16 John Islip Street, London, SW1P 4JU This title was published as part of the Bright series of publications produced by CCW. ISBN 978-1-908339-00-3 © 2011, CCW Graduate School, and contributors

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CAMBERWELL CHELSEA WIMBLEDON